OXFORD WORLD’S CLASSICS
Federico Garcia Lorca
Selected Poems
A new translation by Martin Sorrell
WITH PARALLEL SPANISH TEXT
OXFORD WORLD’S CLASSICS
SELECTED POEMS
Federico Garcia Lorca was bom into a landowning family in
the vale of Granada in 1898. Eleven years later, his family moved to
Granada itself, the scene of his formative artistic and intellectual
contacts. After abandoning early plans for a musical career, Federico
turned to literature; Impressions and Landscapes appeared in 1918. A
year later began his long association with the Residencia de Estudiantes
in Madrid. Elis many friends there included the poets Guillen and
Alberti, the future film director Bunuel, and most importantly for
Lorca, Salvador Dali. Lorca’s early plays and poems draw on aspects
of Andalusian tradition, but always as part of a sophisticated language
of highly personal expression. Dali too encouraged him to make the
exploration of his own unconscious a spur to more radical literary
experiment. Thus when in 1928 his Gypsy Ballads achieved its out-
standing popular success, Lorca had in a sense already moved
beyond it. Partly in reaction to an unhappy homosexual love-affair
he left Spain in 1929 to study at Columbia University. In the event
his New York experiences sharpened his sense of crisis, confirming
his sexual orientation and introducing new extremes of experiment
into his writing: Poet in New York and the ‘unperformable’ drama,
The Public. In 1 93 1 , the year following his return to Spain, the Second
Republic was established. It brought Lorca a new commitment as
director of the student theatre company ‘La barraca’, touring classic
Spanish plays about the country. His literary projects of the early
1930s included new poetic ventures — The Tamaril Divan; the Lament
for his bullfighter friend, Ignacio Sanchez Mejias — and, in Blood
Wedding , Yerma , and Doha Rosita the Spinster a new kind of theatre:
poetic, radical, questioning, but also accessible and popular. His
success in this, his broad identification with progressive public causes,
and his seemingly inexhaustible creativity made the Republican years a
rewarding time for him. That was cut short when, in August 1936, a
few weeks into the Civil War, and soon after finishing The House of
Bernarda Alba , he was arrested and murdered by the Nationalist
authorities in Granada.
Martin Sorrell is Emeritus Professor of Literary Translation at
the University of Exeter, where he has spent most of his career teach-
ing and researching French literature. For Oxford World’s Classics
he has translated volumes of verse by Rimbaud and Verlaine.
D. Garetii Walters is professor of Hispanic Studies at University
of Wales, Swansea. He has written widely on Lorca and is the author of
An Introduction to Spanish Poetry: Spain and Spanish America (2002).
OXFORD WORLD S CLASSICS
For over ioo years Oxford World’s Classics have brought
readers closer to the world’s great literature. Now with over yoo
titles — from the 4,000-year-old myths of Mesopotamia to the
twentieth century’s greatest novels — the series makes available
lesser-known as well as celebrated writing.
The pocket-sized hardbacks of the early years contained
introductions by Virginia Woolf, T. S. Eliot, Graham Greene,
and other literary figures which enriched the experience of reading.
Today the series is recognized for its fine scholarship and
reliability in texts that span world literature, drama and poetry,
religion, philosophy and politics. Each edition includes perceptive
commentary and essential background information to meet the
cha nging needs of readers.
OXFORD WORLD’S CLASSICS
FEDERICO GARCIA LORCA
Selected Poems
Translated by
MARTIN SORRELL
With an Introduction and Notes by
D. GARETH WALTERS
OXFORD
UNIVERSITY PRESS
OXFORD
UNIVERSITY PRESS
Great Clarendon Street, Oxford 0x2 6 dp
Oxford University Press is a department of the University of Oxford.
It furthers the University’s objective of excellence in research, scholarship,
and education by publishing worldwide in
Oxford New York
Auckland Cape Town Dar es Salaam Hong Kong Karachi
Kuala Lumpur Madrid Melbourne Mexico City Nairobi
New Delhi Shanghai Taipei Toronto
With offices in
Argentina Austria Brazil Chile Czech Republic France Greece
Guatemala Hungary Italy Japan Poland Portugal Singapore
South Korea Switzerland Thailand Turkey Ukraine Vietnam
Oxford is a registered trade mark of Oxford University Press
in the UK and in certain other countries
Published in the United States
by Oxford University Press Inc., New York
Spanish-language works by Federico Garcia Lorca copyright © Herederos de Federico
Garcia Lorca. Translations by Martin Sorrell copyright © Herederos de Federico Garcia
Lorca and Martin Sorrell 2007
Introduction and Explanatory Notes © D. Gareth Walters 2007
The moral rights of the authors have been asserted
Database right Oxford University Press (maker)
First published as an Oxford World’s Classics paperback 2007
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
without the prior permission in writing of Oxford University Press,
or as expressly permitted by law', or under terms agreed with the appropriate
reprographics rights organization. Enquiries concerning reproduction
outside the scope of the above should be sent to the Rights Department,
Oxford University Press, at the address above
You must not circulate this book in any other binding or cover
and you must impose this same condition on any acquirer
British Library Cataloguing in Publication Data
Data available
Library of Congress Cataloging in Publication Data
Garcia Lorca, Federico, 1898-1936.
[Poems. English. Selections]
Selected poems / Federico Garcia Lorca; translated by Martin Sorrell; with an
introduction and notes by D. Gareth Walters.
p. cm. — (Oxford world’s classics)
Includes bibliographical references and index.
ISBN-13: 978-0-19-280565-2 (alk. paper) 1. Garcia Lorca, Federico, 1898— 1936-
Translations into English. I. Sorrell, Martin. II. Title. III. Series.
PQ6613.A763A2 2007
86F.62— dc22
2007011367
Typeset by Cepha Imaging Private Ltd., Bangalore, India
Printed in Great Britain
on acid-free paper by
Clays Ltd, St Ives pic
ISBN 978-0-19-280565-2
13579 10 8642
CONTENTS
Introduction
ix
Note on the Text and Translation
XXV
Select Bibliography
xxvii
A Chronology of Federico Garcia Lorca
xxix
SELECTED POEMS
Cancion otonal 2
From Book of Poems
Autumn Song 3
Cancion menor 6
Minor Song 7
Balada triste 8
Sad Ballad 9
Elegia 12
Elegy 13
Aire de nocturno 1 6
Nocturnal Air 17
Cancion primaveral 18
Spring Song 19
Sueno 20
Dream 21
Balada de la placeta 22
Ballad of the Little Square 23
La balada del agua del mar
26 Seawater Ballad 27
Sueno 28
Dream 29
Otra cancion 30
Another Song 3 1
El macho cabrio 32
The Billy Goat 33
Cancion con reflejo 38
From Suites
Song with Reflection 39
Sesamo 40
Sesame 41
Cancion bajo lagrimas 40
Song beneath Tears 41
Paisaje sin cancion 42
Landscape without Song 43
Horizonte 42
Horizon 43
Pescadores 42
Fishermen 43
Delirio 44
Delirium 45
En el jardin de las toronjas
In the Garden of Lunar
de luna 44
Grapefruit 45
From Poem of the Cante Jondo
Paisaje 48
Landscape 49
La guitarra 48
The Guitar 49
El grito 50
The Shout 51
El silencio 32
The Silence 53
VI
Contents
El paso de la Siguiriya 52
Dancing the Siguiriya 53
Despues de pasar 52
After Passing By 53
Y despues 54
And After 55
Tierra seca 54
Parched Land 55
Pueblo 56
Town 57
Punal 56
Dagger 57
Encrucijada 58
Crossroads 59
i Ay! 58
Ay! 59
Sorpresa 60
Surprise 61
La Solea 60
The Soled 61
Cueva 62
Cave 63
Encuentro 64
Meeting 65
Alba 64
Dawn 65
Arqueros 66
Bowmen 67
Noche 66
Night 67
Sevilla 68
Seville 69
Procesion 70
Procession 71
Paso 70
Float, Holy Week 71
Saeta 70
Saeta 71
Balcon 72
Balcony 73
Madrugada 72
Dawn 73
From Songs
Nocturnos de la ventana 76
Nocturnes at the Window 77
Cancion tonta 80
Foolish Song 81
Cancion de jinete 80
Horseman’s Song 81
jEs verdad! 82
It’s true! 83
Verlaine 82
Verlaine 83
Baco 84
Bacchus 85
Juan Ramon Jimenez 84
Juan Ramon Jimenez 85
Venus 86
Venus 87
Debussy 86
Debussy 87
Narciso 88
Narcissus 89
A1 oido de una muchacha 88
In a Girl’s Ear 89
La luna asoma go
The Moon Appears 91
Murio al amanecer go
He Died at Dawn 91
Primer aniversario g2
First Anniversary 93
Segundo aniversario g2
Second Anniversary 93
Lucia Martinez 94
Lucia Martinez 95
La soltera en misa 94
The Spinster at Mass 95
Malestar y noche 94
Malaise and Night 95
Desposorio 96
Betrothal 97
Despedida 98
Parting 99
En el instituto y en la
In the Institute and in the
universidad 98
University 99
Contents
Madrigalillo ioo
Preludio ioo
De otro modo 102
Cancion de noviembre y abril 1 02
Cancion del naranjo seco 104
Light Madrigal 10 1
Prelude 10 1
Another Way 103
Song of November and April 103
Song of the Dry Orange Tree 105
From
Romance de la luna, luna 106
Romance sonambulo 108
La monja gitana 112
Prendimiento de Antonito el
Camborio en el camino
de Sevilla 116
Muerte de Antonito el Camborio
Muerto de amor 122
Gypsy Ballads
Ballad of the Moon, the Moon 107
Dream walker Ballad 1 09
The Gypsy Nun 1 13
Capture of Antonito el
Camborio on the Seville
Road 1 17
1 1 8 Death of Antonito el Camborio 1 19
Dead from Love 123
From Poet in New York
El rey de Harlem 126 The King of Harlem 127
Crucifixion 132 Crucifixion 133
Grito hacia Roma 136 Cry to Rome 137
Son de negros en Cuba 140 Blacks in Cuba, their Son 141
From Earth and Moon
Pequeno poema infinito 144 Little Infinite Poem 145
From The Tamarit Divan
Gacela IX Del amor maravilloso 146
Casida V Del sueno al aire fibre 146
Casida VIII De la muchacha
dorada 148
Gacela del mercado matutino 150
Ghazal IX Of Marvellous Love 147
Qasida V Of the Open-Air Dream 147
Qasida VIII Of the Golden Girl 149
Ghazal of the Morning
Marketplace 151
From Six Galician Poems
Romaxe de Nosa Senora Romance of Our Lady of
da Barca 152 the Boat 153
Canzon de cuna pra Rosalia Cradle Song for Rosalia
Castro, morta 152 Castro, Dead 153
Lament for Ignacio Sanchez Mejias 156
Contents
viii
From Sonnets of Dark Love
El poeta habla por telefono con The Poet Speaks to his Love on
el amor 170 the Telephone 171
‘jAy voz secreta del amor oscuroP 170 ‘Ay, Secret Voice of Dark Love’ 171
El amor duerme en el pecho The Lover Asleep on the Poet’s
del poeta 172 Breast 173
Noche del amor insomne 172 Night of Sleepless Love 173
Explanatory Notes
177
Index of Titles
185
Index of First Lines
189
INTRODUCTION
F ederico Garcia Lorca was born of a well-to-do family on 5 June
1898 in the village of Fuentevaqueros in the plain of Granada. From
his father, a prosperous farmer and landowner, and from the family
servants Lorca derived a love and knowledge of peasant life and rural
lore that served to shape him as a writer. Before he was 4, he knew
dozens of folk songs by heart, and such an early acquaintanceship
with this material explains its ready assimilation into his poetry. The
childlike quality of the verse and the ease with which Lorca could
adopt a child’s perspective may also derive from this exposure to the
rich vein of Andalusian popular culture. In 1909, the family moved
to Granada so that the educational needs of Federico and his brother
and sister could be met. As schoolboy, student, and ultimately as a
writer, Lorca was to base himself in Granada for the rest of his life.
The spiritual kinship of the poet with the city, in particular with its
Arabic heritage, is undoubted, as indeed is the association of Lorca
with Andalusia as a whole. Important for his development as a writer,
however, were study-visits he undertook as a student in 1916 and 1917
to other regions of Spain. Of crucial significance, too, for the devel-
opment of his art was the period he spent living at the Residencia de
Estudiantes in Madrid in the 1920s. The purpose of this institution,
similar to an Oxbridge college, was to bring together the finest young
talents of Spain and to help them blossom in an invigorating cultural
and intellectual environment. Here Lorca formed close friendships
with Salvador Dali and Luis Bunuel. Stimulating in a different way
was his experience as a student at Columbia University, New York,
in 1929—30; it is nothing less than culture shock that is registered in
a series of poems written during his stay in the city. Less inspiring,
though certainly more enjoyable, was his South American tour of
1933-4. His fame was by now considerable in the Spanish-speaking
world, and his trip coincided with successful productions of his
plays. In 1931 the Education Ministry of the new government of the
Second Republic had appointed him as director of a travelling theatre
company, ‘La barraca’. On his initiative, Spanish plays were performed
all over the country, in squares, marketplaces, and barns. The effect
on Lorca’s own dramatic production was evident: the most powerful
X
Introduction
and popular of his plays were written in the few years between his
practical theatrical experience and his death in 1936. 1
In the turbulent days preceding the start of the Spanish Civil War
in July of that year Lorca was in Madrid and confronted by a difficult
choice. Should he remain in Madrid or return home to Granada as
he normally did in the summer? Where would he be safer if hostili-
ties were to break out? After some agonizing, he decided to go to
Granada where he thought that he could rely on the protection of
friends in the event of a Nationalist takeover. Indeed, within less than
a month he was forced to seek refuge at the house of the family of a
friend and fellow poet, Luis Rosales. They had connections with and
thereby, it was hoped, influence upon the local Falangist party, a
politico-military group charged with civic functions in the period
following General Franco’s revolt. Unfortunately, the Rosales were
unable to save Lorca. Even while at their house, the Civil Governor
issued an order for his arrest. He was detained on 16 August and exe-
cuted by firing squad three days later along with a small group of his
fellow citizens on a hillside above the town.
The subject of Lorca’s death was for many years something of a for-
bidden topic. The outcry that followed, outside Spain as much as inside
it, given the international impact of the Civil War and the fame that his
works immediately achieved, proved embarrassing for the representa-
tives of the Franco regime. Only since the 1970s have the facts about
Lorca’s death and the true motives been made public. Rumours that his
death was prompted by purely personal factors, such as jealousy arising
from a homosexual liaison, were useful in deflecting attention away from
the political dimension. 2 * * Yet Lorca was not political in a committed
partisan way, although his instincts were decidedly liberal and demo-
cratic in nature and he had aligned himself with left-wing values in the
years preceding the start of the Civil War. Moreover, from his youth he
had offended the Granada bourgeoisie by associating with some of the
more flamboyant and arty types of the city. His homosexuality 7 , although
not blatant, further outraged the conservative-minded citizens. The
seeds of resentment were further watered in an interview Lorca gave in
1 See Federico Garcia Lorca, Four Major Plays, trans. John Edmunds (Oxford:
Oxford University Press, 1997).
2 See Jean-Louis Schonberg, Federico Garcia Lorca: L' Homme- L'CEuvre (Paris: Plon,
1956) and a summary of Schonberg’s thesis in Ian Gibson, The Death of Lorca (London:
Paladin, 1974), 154-7.
Introduction
xi
the last year of his life, in which he expressed the view that the
capture of the Moorish kingdom of Granada by the Catholic Monarchs,
Ferdinand and Isabella, was a ‘disastrous event’. 3
The popularity of Lorca’s work is due in part to the circumstances
of his death and the mystery in which it was shrouded. Yet he is also
perceived, especially by readers in the English-speaking world, as the
epitome of what it is to be a Spanish writer. Images of guitars, moons,
violence, and passion occur with just enough regularity to justify
the label. Such a view may not be a distortion, but it is certainly a
simplification, and an awareness of Lorca’s first faltering steps as
a poet serves to caution against any view of him as a facile or even a
‘natural’ poet. In 1917-18, around the age of 20, he wrote several
thousand lines of poetry; in terms of sheer productivity this was the
most prolific period of his poetic career. Even though the poet and
his brother Francisco had numbered the poems in readiness for pub-
lication, however, little of this vast output was to appear with the poet’s
blessing. This was a wise decision for there is little of genius or even
charm in these earnest, inflated compositions for all their exuberance
and pretension. Their publication in a popular paperback edition in
1994, as opposed to a more specialist one, was therefore questionable:
a reader new to the poet could hardly recognize in this large volume
the portents of talent or the hallmarks of style, and could indeed be
dissuaded from reading other works of his. The true worth of the
poetic juvenilia was that of a necessary apprenticeship. They afforded
a space and opportunity for learning through the very act of writing
poetry, acquiring the negative but crucial value of an exorcism. That
Lorca could within five years be producing exquisite and disturbing
miniatures speaks volumes for his capacity for self-analysis and self-
criticism. His ambition was channelled ruthlessly into a practical
awareness of what it took to become a poet.
Book of Poems
Before embarking on his poetic adventure Lorca seemed destined for
a career in music. A highly talented pianist and a budding composer,
3 ‘An admirable civilization, and a poetry, architecture, and sensitivity unique in the
world — all were lost, to give way to an impoverished, cowed city, a “miser’s paradise”
where the worst middle class in Spain today is busy stirring things up.’ Cited in Ian
Gibson, Federico Garcia Lorca (London: Faber and Faber, 1989), 439.
Introduction
xii
he had hoped to pursue his musical studies in Paris. Parental oppo-
sition and the death of his music teacher, Antonio Segura, combined
to stifle this aspiration. In an autobiographical note written during
his period in New York in 1929—30 he relates his decision to become
a poet to thwarted musical ambitions: ‘As his parents did not allow
him to go to Paris to continue with his initial studies and as his music
teacher died, Garcia Lorca turned his (dramatic) pathetic creative
urges towards poetry.’ 4 Such a clear-cut statement of cause and effect
may be an exaggeration, a simplified retrospective gloss. In any case
Lorca did not abandon music. His friendship with Manuel de Falla,
his organization jointly with Falla of a cante jondo festival — designed
to reinvigorate traditional Andalusian folk music (literally ‘deep song’),
which had suffered from trivialization at the hands of cafe perform-
ers — and his imaginative arrangements of Spanish folk songs for
voice and piano all provide evidence of the continuing significance of
music in his work as well as in his life. 5
In Lorca’s earliest poetry there is, though, an overdependence
upon musical analogies as though the musician was only letting
go with reluctance. He utilizes composers’ names as a shorthand or
code for a desired emotion and employs technical terms such as
tempo markings, key signatures, and symphonic or sonata movement
names. Such a heavy-handed manner is characteristic of the poetic
juvenilia, with their ready recourse to enumeration and anaphora,
liberally sprinkled with exclamation and interrogation marks.
It is not surprising then that only a handful of the 155 poems that
appear in the edition of the juvenilia should have found their
way into print. Of a different level of achievement altogether is
Book of Poems , a collection of sixty-eight poems written between
1918 and 1920. Uneven though it may be in quality, it offers a
distinctive glimpse into the making of a poet. If the unpublished
juvenilia are a place for the disposal of an inauthentic lyric voice,
then the first publication in verse constitutes a site for the gradual
4 ‘Como sus padres no permitieron que se trasladase a Paris para continuar con sus
estudios iniciales, y su maestro de musica murio, Garcia Lorca dirigio su (dramatico)
patetico afan creativo a la poesia.’ Obras completas, ed. Arturo del Hoyo, 13th edn. (Madrid:
Aguilar, 1967), 1698.
5 See my article ‘Parallel trajectories in the careers of Falla and Lorca’, in Federico
Bonaddio and Xon de Ros (eds.), Crossing Fields in Modern Spanish Culture (Oxford:
Legenda, European Humanities Research Centre, 2003), 92—102.
Introduction
xiii
and painful acquisition of identity and aspiration. The collection is
rich in a creative tension that is symptomatic of a learning curve.
Such strains and conflicts can be found both in individual poems and
between poems. The ‘Elegy’ (p. 13) is lexically overripe but it is
also concentrated in its vision: the short-winded accumulation of the
unpublished poetry yields to an arresting precision of imagery
through the interplay of the sexual and the maternal, of Christianity
and paganism. The pathetic fallacy in the poems entitled ‘Songs’
from the early part of the collection is countered by the edgy lyricism
in the form of fragmentary dialogue and subterranean narrative
in the poems entitled ‘Ballads’. Strategically placed at the end of
Book of Poems are a dozen or so poems that serve to embody discov-
ery and adventure. Their unease is reminiscent of an idea in Shaw’s
Major Barbara'. ‘You have found something. At first that feels as if
you have lost something.’ The significantly named ‘Another Song’
(p. 31) marks such a coincidence of loss and gain, while ‘Dream’
(p. 29) and ‘The Billy Goat’ (p. 33), sexually dark and ambivalent,
daringly stake out the new territory. Yet ‘The Billy Goat’ is perhaps
less important for what it tells us about Lorca’s sexuality in 1919 —
when it is supposed his homosexual inclination was not yet evident —
and more significant as an indicator of a poetic crisis. In this respect,
the roughness and aggression of the poem — the blunt terminology,
the visceral phrasing — are if not a metaphor, then a working out
(in both senses of the term) of expressive problems. It is a poetry
that wears on its sleeve the excitement attendant upon the very
making of the poem as a new kind of aesthetic experience, where
‘light is a hurricane’.
Suites
What writing Book of Poems may have taught Lorca, among other
things, was the art of minimalism. He was not especially interested in
the various ephemeral Hispanic avant-garde poetic movements that
were in vogue around 1920, but in the two years prior to the publi-
cation of Book of Poems his artistic horizons had widened with his
entry into the Residencia de Estudiantes. The quest for a new and
fresh poetic was manifested initially in the poems that came to com-
prise his Suites. The title suggests two musical models: the character-
istic eighteenth-century composition of a kind much employed by
XIV
Introduction
Bach and Handel, containing a whole range of dance forms, and an
earlier type in the form of theme and variations, or what Spanish
instrumental composers of the sixteenth century labelled ‘diferen-
cias’. More significant than the musical inspiration for the poetic
form is the fastidiousness and precision of diction, a far remove from
the verbosity of the unpublished poems and some compositions of
Book of Poems. Yet the poem entitled ‘Song with Reflection’ (p. 39)
reveals not just the effect of purgation, for its minimalism is not a
matter of style — of an optional vehicle of presentation — but a mode
of dramatization that is integral to the poem. While a reference to the
poet’s heart might have spawned an emotional rhapsody in the earliest
poetry, here the term prompts distancing and a gentle irony. What
we have are faint impressions and evasions in the unanswered questions
and elisions. Such an abbreviated and truncated piece can hardly be
expressive of anything, let alone of personal emotions, such is its
incompleteness, its gaps. The ‘lost language’ in a sense says it all: it
is a cavernous composition with the resonance of echo. What its
unremitting suggestiveness approximates to are intimations of a rela-
tionship, as faceless as it is wordless, and as fleeting and insubstantial
as the reflection of its title. It is a salutary reminder that poems work
on the basis of what comes out of them rather than what certainly or
allegedly goes into them.
Poem of the Cante Jondo
The cante jondo festival that Lorca organized in collaboration with
Manuel de Falla and the businessman Miguel Ceron Rubio in 1922
inspired the Poem of the Cante Jondo, a work that could be considered
as the greatest set of suites, although not named as such. In cante
jondo Lorca discovered a depth and authenticity of folklore that read-
ily translated into a form of poetry that he favoured in the early
1920s. Earlier poets, such as Manuel Machado, exploited the ‘deep
song’ of the gypsies and their culture to supply word-pictures that
veered between photographic realism and unintentional caricature.
Lorca avoided the cliches of such a heady art and lifestyle. The key
to his imagining of this ancient Andalusian song is evocation; in a
lecture given to the Arts Club in Granada some months before the
festival took place he described in suggestively poetic terms the
character of this art: ‘It is a song without landscape and therefore
Introduction
XV
concentrated in itself and terrible amid the shadow.’ 6 Such a mode
of description is indicative of Lorca’s approach in this collection.
He is more concerned to assimilate rather than duplicate the detail of
cante jondo\ he may occasionally adopt its lexical mannerisms but he
never quotes verbatim, however much he values its mystery. Instead
he seeks an equivalence of elfect.
One of the characteristics of flamenco song is voice modulation,
enhanced by the use of the melisma, a decorative treatment of melody.
The elaboration of the refrain in the final lines of ‘AyP (p. 59) is a
case in point. It conveys that kind of stillness that we might be tempted
to label unworldly until we realize that it is the very embodiment of
world. It is a stillness where silence resounds — the presence of
silence is no less significant in Lorca’s plays — and where the shadow
is the picture. In this scene of emptiness the plea for release and
abandonment is formulated in a line of almost painful intensity so
emphatically is it spelled out, syllable by syllable: ‘I’ve told you to
leave me.’ Even in ‘The Guitar’ (p. 49) that celebrates the unique
sound world of flamenco it is the echo or the memory of song that
resonates. The repeated similes shadow a fading sound and register
the immensity of the disappearing acoustic, such is their sheer sense
of size and space: ‘like water, | like wind | over snow’.
Commentators have sought to emphasize the tragic and dramatic
aspects of the ca nte jondo poems, by reference both to Lorca’s life and
other works of his. Yet it is performance that the book’s subdivisions
highlight, by evoking the characteristic flamenco genres. The form of
the suite enables an integration that mimics what actually happens
in cante jondo : the guitar preceding the voice, the song that opens
with an ornate cry of pain, the sequences in time. The compositions
that form the ‘Poem of the Saeta ’ are an impression of Holy Week in
Seville. They acknowledge the solemnity of the occasion without
being serious, and although they embody mystery insofar as they
enunciate the dark and the remote, they also have an uncertain, elu-
sive quality that is not so much spiritual as playful. Lorca puns on the
word saeta , stubbornly refusing to take it purely as a metaphor — the
songs as arrows of lamentation — and, denying the title of the section
its true significance, thereby converts the saeta singers into bowmen,
6 ‘Es un canto sin paisaje, y por tanto, concentrado en si mismo y terrible en medio
de la sombra’. Obras completas , 47.
XVI
Introduction
even establishing a witty link with the mythological archer, Cupid.
In a further twist, the blind bowmen are connected to the hooded
penitents of the brotherhoods that participate in the Good Friday
processions. What such traits suggest is that in Poem of the Cante
Jondo Lorca learnt how to make a ‘bigger’ work than hitherto. He
betrays a capacity for thinking in larger structures: he attains a con-
ception of a macro-poem made up of a number of smaller poems.
Songs
Such an accomplishment was to be consolidated in Songs , a work that
occupied the poet mainly between 1921 and 1924 and which can be
considered the culmination of his early poetry. In particular, it is in
this collection that the functioning of the lyric presence, that had been
tenaciously confronted in Book of Poems and controlled in Poem of the
Cante Jondo, would be supremely refined. This presence is complex:
the child’s view of the world, open-eyed and undiscriminating, alter-
nates with adolescent anxieties and with adult explanations or, just as
often, evasions. In ‘Nocturnes at the Window’ (p. 77) there is an
impulse prompted by the fascination of seeing, embodied in the mag-
netism of the moon, associated, as so often in Lorca’s work, with
fateful striving. In the lunge towards new experiences, the recklessness
of the child-speaker is obvious. For if the danger is unwelcome, it is
the price to be paid for the pleasure of finding out: the window
through which the child puts his head to savour the smells of the night
becomes a guillotine. The concluding poem in ‘Nocturnes’ (p. 79)
suggests the confusion attendant upon discovery: the childlike visual-
ization of a funeral serves as a cover for the fright of a lost innocence.
Many poems in Songs have as their site the boundary between
childhood and adolescence; in ‘Foolish Song’ (p. 81) the yearning to
move into the next stage of life is successfully countered by an
instinctive regression. The incorporation of dialogue into the slightest
of lyrics, as here, is one of the poet’s touches of genius. Like others,
this poem is a blend of neo-classical purity and pseudo-folkloric sim-
plicity. In Lorca’s hands, however, such a fusion yields unease, as in
the edgy, truncated poems that either provide unhappy versions of
the rites of courtship (pp. 89, 99, 101) or else brutally deconstruct
them (pp. 95, 97). It is tempting to interpret such negative ration-
alizations of amatory aspiration and encounter as indications of the
Introduction xvii
poet’s homosexuality, and it is no great task to engage in what
would be therefore warranted as appropriate decoding. This kind of
approach — reductive as it is — often has the sole effect of telling us
what we want to find out about the poet because we already know it.
In any case it does not do justice to the complexity of the issue. In the
sequence beginning with ‘Verlaine’ (p. 83) the layers of concealment
prevail over any imperative of revelation. ‘Bacchus’ (p. 85) hints at a
revulsion with the feminine through panic provoked by the fig-tree,
a traditional female symbol. We could envisage a brief narrative
whereby the speaker is approached by a female figure who seeks an
intimate embrace only for him to recoil before her. In ‘Venus’
(p. 87) the ‘shell of the bed’ brings to mind the well-known Botti-
celli painting of the birth of Venus except that in Lorca’s version
Venus sinks into the sea rather than rises out of it — a blunt
de-mythification that commemorates the death of woman as erotic
objective. By contrast the vision of likeness through the reflection
of the self — a same-sex attraction — in ‘Narcissus’ (p. 89) provokes
fascination and desire — a process again realized by means of a
child— mother dialogue. Yet the last word belongs to the poet who
comments on what has occurred and asserts his right not to commu-
nicate: ‘I understood. But I shan’t explain.’ One could not imagine a
more robust disassociation from the conventional notion of poetry as
the expression of emotion.
There are, admittedly, poems of the most sonorous and evocative
character, such as ‘Horseman’s Song’ (p. 81), where the rhythmic
form magically shadows the doom-laden journey towards an unat-
tainable Cordoba, or ‘Song of the Dry Orange Tree’ (p. 105) whose
emotional unburdening and anguished articulation is more in keep-
ing with the speech of the female figures of the late tragedies — the
Mother in Blood Wedding , Yerma in the play of the same name, Adela
in The House of Bernarda Alba — than the poetry of the early 1920s.
Entirely different in nature is ‘Parting’ (p. 99). It is reminiscent of
some of the quieter pieces in Poem of the Cante Jondo. There is a
poise about the placing of the figures, each to his function: the poet
on the balcony, the child eating oranges, the reaper in the fields.
This spatial harmony is complemented by the uncluttered sentence-
structure, simply and finely shaped. Here the restless gaze of the
child in ‘Nocturnes at the Window’ is replaced by the weary contem-
plation of the adult, albeit languorous rather than dejected.
xviii Introduction
Gypsy Ballads
Yet perhaps the most emotive incorporation of the child in Lorca’s
poetry does not occur in Songs but in the opening poem, ‘Ballad of the
Moon, the Moon’ (p. 107), of the next published collection, Gypsy
Ballads. The uncanny fantasy of the moon who comes to the forge in
order to abduct a child reveals Lorca at his most characteristically cre-
ative. In a lecture recital on the Ballads he observed that this was an
invented myth: the moon as deadly ballerina. Yet part of its troubling
attraction resides in its capacity to prod the reader into acknowledging
other myths, as in the unconscious allusion to fragments of tales such
as the ‘Erlkonig’ of Germanic legend. Above all, there is the conscious
evocation of the world of the Spanish ballad — the romance — a tradi-
tional form that attracted ‘learned’ poets from the sixteenth century
onwards. The sing-song repetition, both entranced and threatening in
this ballad about the moon, the lavish detail, the sudden spurts of
narrative energy, are all celebrated in this collection. The book’s fame
inspired all kinds of overall interpretation, including some by the poet
himself, who felt obliged to defend it both against the contempt of his
fellow artists, Dali and Bunuel, who felt it to be a betrayal of the sur-
realist agenda, and against the misconceptions of those who believed
the author himself to be a gypsy, such was its insight into their lives and
culture. Yet as much as about Granada, or gypsies, or the ‘pena negra’
(dark grief) — the title of one of the poems — this book of ballads could
be said to be about the ballad itself. It is a showcase of styles and man-
nerisms, from the virtuosity of its rhythmic variety to its tellingly
authentic employment of one of the traits of the older form of the genre,
the romance viejo : ‘fragmentisin’, that is the practice of presenting the
material of poems in the form of successive tableaux without connect-
ing threads, and frequently having abrupt endings where the reader is
deprived of a knowledge of the outcome.
It is one of the best known of all Lorca’s poems that betrays this trait,
the ‘Dreamwalker Ballad’ (p. 109). The subject of innumerable inter-
pretations, variously ingenious and preposterous, it none the less
refuses to yield a clear narrative. 7 Lorca himself observed that although
7 ‘Events become ambiguous, the poem remains open-ended, and linear, anecdotal
interpretations are subsequently confounded.’ Federico Bonaddio, ‘Lorca’s “Romance
sonambulo”: The Desirability of Non-Disclosure’, Bulletin of Hispanic Studies , 72 (1995),
385-401 (21389).
Introduction
XIX
it had ‘a great sense of anecdote, nobody knows what happens, not even
me’. The poem’s fragmentism resides in the isolation of scenes, caused
by the absence of explanatory connections, which compels us to fill the
gaps by hazarding supposed causes and effects. Yet this should not be
viewed as the product of a riddle-producer. The poem is imbued with
a dream-like quality which has been an encouragement for the psycho-
analytic school of critics, especially eager to press the case for Lorca as
a man of his times, as one of a group of poets who were, it is to be pre-
sumed, ‘decisively influenced by the knowledge represented by Freud
and Jung’. 8 But the features of this poem that linger in the mind and
haunt the memory are likely to be uniquely poetic: from the haunting
opening refrain — as good an example of the necessary inexplicable
quality of poetry as one could imagine — to the heady confusion of dia-
logue, description, and narrative of the poem’s non-conclusion.
The sense of delight that comes from reading — or hearing — such
a poem is repeated elsewhere in Gypsy Ballads. Commentators who
extract anguished and tragic messages or statements from the work are
in danger of forgetting the form in which such supposed portentous
utterances are cast. Moreover, these poems betray a lightness of touch,
an imaginative verve and even touches of humour. Such are the two
ballads about Antonito el Camborio (pp. 1 17-21), in real life a gypsy
layabout who met an ignoble death after drinking too much, but ele-
vated by Lorca into a delightfully cult, if not camp, figure: a pretty
young man, carefree and swaggering, whose meek submission to the
officers of the Civil Guard is redeemed in the duel with his cousins, the
description of his balletic grace in the struggle recalling the metaphors
drawn from the art of bullfighting in the previous poem. Lorca
observes, tongue in cheek, that Antonito was one of the purest heroes
of the book as he was the only one to call him by name at the moment
of his death: ‘Oh, Federico Garcia | call the Civil Guard!’
Poet in New York
In the summer of 1929 Lorca embarked from Southampton on
the SS Olympic for New York. He was passing through a period of
8 ‘decisivamente influida por la ciencia representada por Freud y Jung’. J. M. Aguirre,
‘El sonambulismo de Federico Garcia Lorca’, Bulletin of Hispanic Studies , 44 (1067),
267-85 (at 268).
XX
Introduction
depression, partly at least as a result of an amatory disappointment:
the sculptor Emilio Aladren, with whom he was infatuated, was starting
to become interested in the girl who was to become his wife. The
poet’s stay in New York is commonly regarded as a miserable experi-
ence, one which Lorca translated into the anguished and difficult
compositions published posthumously as Poet in New York. This is
perhaps an oversimplification produced by the need to square the life
with the work; in reality, Lorca was well received, even feted, and rel-
ished the music of the blacks, whom he compared to the gypsies of his
native Andalusia. He did, however, feel alienated from the life and,
more especially, the lifestyle of New York, although only he could be
blamed for this. He made little effort to learn English and displayed
an instinctive antipathy to Anglo-Saxon culture and religion: his let-
ters home are evidence of a closed mind. Not even a month in the
country at the Vermont home of the parents of Philip Cummings, a
young American student whom Lorca had met at the Residencia de
Estudiantes the previous year, sufficed to relieve his depression.
A poem he wrote when stopping off at Cuba on the way home is a
joyous cry of relief: his verse seems to sing and dance again (p. 141).
Out of the New York experience Lorca made a poetry that is perhaps
less indiv idually distinctive than some of his previous work. The notion
of the city as a dehumanizing environment, his revulsion at the multi-
tudes who crowded Coney beach on holiday, and his lyrical disassoci-
ation from what he considered disagreeable or unacceptable, are
hallmarks of a kind of artistic sensibility provocatively outlined by John
Carey in The Intellectuals and the Masses. Lorca’s natural sympathy for
the underdog and his sense of decency coexist with an aristocratic, even
elitist, air. Such a fusion leads to a poetry of bold strokes, even of sim-
plicities. To extrapolate ideas from Poet in New York and write about
them as if they were the poem is poor critical practice and an unjust tool
of assessment: Lorca is a poet, not an essayist, to be judged on the
poetic assimilation and integration of ideas not on their value in them-
selves. He fantasizes about how nature will one day wreak retribution
on the metropolis, he denounces the world of money and numbers, and
he manufactures a rhetoric of revolt. The vivacity of the imagination
and the verve of the spoken voice (for many of the New York poems are
splendid recitation pieces, as Lorca himself realized) are such that
we overlook the embarrassingly rough-edged ideology. None the less,
occasional outbursts make for uncomfortable reading: the liberating
Introduction
XXI
desire to ‘beat | the little trembling Jewish women full of bubbles’
would have been the subject of greater scandal in a poet for whom there
might be less obvious affection, such as T. S. Eliot. That there are
profoundly self-searching compositions in the collection touching on
matters of religious speculation and sexual identity is not in doubt.
Their tortuous probing, allied to a deployment of imagery that approxi-
mates to that of the surrealists, makes for difficult reading, though it
has proved a rich seam for scholars. At his best, in a poem such as ‘Cry
to Rome’ (p. 137), almost certainly inspired by the signing of the
Lateran treaties between Mussolini and Pius XI in February 1929, the
controlled imagery and rhetoric produces a stunning protest poem, a
rare piece of poetic demagoguery whose incitements — denunciation
and exhortation — have the ring of poetic truth.
The T amarit Divan
In the last six years of his life Lorca wrote comparatively little poetry.
His main focus of attention in this period was the stage, partly as a
result of his appointment as the director of ‘La barraca’. Indeed some
of the finest poetry in these years is to be found in the three tragedies,
not only in the set-piece poems, frequently in the guise of songs, but
also in the sharp melodies of dialogue. He also returned to the kind
of poetry he wrote in the early 1920s. The poems that appear in The
Tamarit Divan are brief and evocative — an attempt to conjure up the
delicate and exotic world of Arabic poetry. Though there are few
formal connections between the ghazals and qasidas and the Arab
genres from which this terminology derives, Lorca again succeeds —
as he had with Poem of the Cante Jondo — in assimilating the essence
and the flavour of such poetry. It is hardly surprising that a poetic
imagination as attuned to place and history as Lorca’s, growing up in
the last stronghold of Moorish Spain, surrounded by sumptuous and
sensuous palaces, gardens, and fountains, should react so creatively
to a culture that he was to compare, favourably and provocatively, to
that of the Christians who conquered Granada in 1492.
Six Galician Poems
The Six Galician Poems testify to an affection for Galicia that dated
from a visit to the region as a student at the University of Granada
XXII
Introduction
and was reinforced by a more recent one with his theatre company.
Lorca was also on friendly terms with a number of Galician writers
and knew the literature of the region well. One of the poems (p. 153)
pays homage to the greatest of the region’s poets, Rosalia de Castro,
and it also harks back to the medieval Galician-Portuguese lyric in its
utilization of the dawn-song, albeit with an unusual macabre edge.
Lament for Ignacio Sanchez Mejias
The most ambitious poem of Lorca’s last years is what could be
termed an occasional piece. It is perhaps indicative of the way in
which his allegiance was changing from poetry to drama that it
should have taken a specific event to prompt him to such a work. In
October 1934 the bullfighter Ignacio Sanchez Mejias, a friend of the
poet, died as a result of a goring by a bull in a corrida in Manzanares,
a small town south of Madrid. Mejias had retired from the ring some
years earlier and his surprising return was foolhardy: now in his for-
ties, he was overweight and had lost his former agility. His friendship
with Lorca went back a number of years as, unusually for a bullfighter,
albeit the son of a distinguished doctor, he had literary pretensions
and talent, notably as a dramatist. The poem that Lorca wrote in his
memory (p. 157) is a lament rather than an elegy — the Spanish term
llanto of its title derives from the Latin planctus with its association
of weeping. Both the title and passages in the poem’s second part recall
the most celebrated poem of this type in Spanish literature — the
fifteenth-century ‘Coplas por la muerte de su padre’ (‘Verses upon
the Death of His Father’) by Jorge Manrique. The best-known sec-
tion of the poem is the opening with its endlessly repeated refrain ‘At
five in the afternoon’. From the poem we would imagine this to be
the time of Mejias’s death, but Lorca had obtained the phrase from
a newspaper headline that employed the very same words in a refer-
ence to the start of the funeral procession some days later. To say it
is a refrain is an understatement; it rings through the opening section
of the poem like a maddening bell behind which the snatches of
narrative are assembled. It is a virtuouso performance comparable to
the Gypsy Ballads. There are subtle touches of technical wizardry:
the changes of tense, the shift from metaphor to simile, above all, the
elaboration of the refrain at strategic points like hammer blows
resounding above the monotonous tolling.
Introduction
xxiii
The sensation of horror and the sense of anger that are tradition-
ally part of the planctus yield in the later part of the poem to a resigned
sorrow culminating in the tribute to the dead man and the implied
consolation of his memory. The calmer vision prompts some of Lorca’s
most harmonious lines, the opening stanzas of the final section with
their simple syntactical repetitions and the haunting evocation of
autumn appropriately linger in the memory. Cultivated and brilliant
though he may have been, Mejias was dignified beyond his significance
by this noble threnody, converted into an Andalusian hero as Antonito
el Camborio had been years earlier.
Sonnets
In the last months of his life Lorca was planning a book of sonnets.
This was not a form he had cultivated widely, but when he composed
a group of eleven love sonnets at the end of 1935 it came at a moment
when the form was enjoying something of a revival. Most of these
poems were unpublished until the 1980s, as indeed had been the
Suites. In the case of the sonnets, however, the delay in publication
excited more interest. The title by which they are now known —
Sonnets of Dark Love — was not one that appeared in the manuscript,
but it has arisen because Lorca supposedly referred to them as such
to friends. Inspired by Lorca’s love for Rafael Rodriguez Rapun, a
young engineering student with whom he had fallen in love in 1933,
the term ‘dark’ is commonly taken as being synonymous with ‘homo-
sexual’. This is a reasonable deduction but Andrew Anderson is right
to point out that the term has other connotations, ‘most of them
equally or more relevant to the appreciation of the sonnets as self-
sufficient literary texts’. This scholar also perceptively observes that they
are about ‘the tormented experience of love, passion and suffering, and
only secondarily about the dynamics of being in a love affair’. 9 There is
little by way of specificity in the group of sonnets: indeed on only one
occasion is the sexual identity of the object of love made explicit.
The reception of Lorca’s work — his poetry in particular — has
suffered from two successive distortions. Once his life and his com-
plete work became a subject for open discussion and scrutiny his
9 Lorca's Late Poetry: A Critical Study (Liverpool: Francis Cairns, 1990), 306.
XXIV
Introduction
mythic status changed: from Republican martyr to gay icon. Neither
of these terms serves him well. Ignorance, willed or otherwise, yielded
to overfamiliarity, to an open season for crude deconstructionists. At
the same time, as if to compensate for his wretched fate at the hands
of Nationalist thugs, there has emerged a rosy-tinted version of his
life and character. Posterity may deem it necessary to adjust those
judgements that presently overrate the man and underrate the work.
Lorca was a victim not a martyr; a man of decent instincts, not a
saint. He was generous and impulsive, but he could be vain and self-
centred. One could excuse his lack of modesty for it would have been
false. He towered over his contemporaries, and they knew it: he was
feted and lionized. Yet a later critical consensus, which looks to the
achievements of the poetic group to which Lorca belonged, variously
denominated the Poetic Group of 1925, the Generation of 1927, and
the Generation of the Dictatorship, is apt to treat him at most as
a first among equals. There is, however, surely no doubt that he is
the most stylish and spectacular poet of twentieth-century Spain — a
writer who fulfils most readily our expectations of what poetry can
achieve.
NOTE ON THE TEXT AND TRANSLATION
The Spanish texts are taken from the original volume collections,
whose details of publication are provided in the Explanatory Notes at
the back of the book.
The aim has been to provide a balanced selection of poems from
all periods of Lorca’s life. This has entailed including rather fewer
poems than is usual in anthologies from the better-known books,
notably Romancero gitano and Poeta en Nueva York , and instead
finding more space for those from the earlier works. Such an empha-
sis, it is hoped, will both highlight Lorca’s development as a poet
and do justice to the somewhat underrated collections of the early to
mid-i920s.
D. G. W.
Lorca’s poetry poses the recognized problems of translation in an
intense way. His Spanish is highly charged, culturally specific, strongly
rhythmic, always musical. It evokes an ancient land, Andalusia, where
Europe, Africa, and Arabia met and clashed. It evokes a world of
searing heat, passions, and rough justice, resonating to the haunting
sound of cante jondo, the purest form of Flamenco music. Here is a
world which could scarcely be less Anglo-Saxon.
Lorca’s work has been much translated in the decades since his
death, so iconic a figure has he become. The translations in this volume
have sought to render what might be called Lorca’s disposition , and to
give an account in English of the anguished, isolated sensibility that
lies below the language of his poetry. My aim has been to produce
angular, tight, uncluttered lines. Thanks to the stress system of Spanish,
Lorca’s sense of anguish and intensity is conveyed in a markedly
accented metre; rhythmic pulse matches what is being voiced. Form
and content become synonymous. However, too marked an English
metrical foot might run the risk of lightness of tone quite at odds
with Lorca’s brittle urgency. Nor does Lorca use end-rhyme, another
possible agreeable agent of security. Instead, he exploits the naturally
occurring assonance of Spanish, which the English versions loosely
have sought to reflect.
XXVI
Note on the Text and Translation
The first drafts of these translations were done at the Tyrone
Guthrie Centre in Ireland during a residency funded by the EU in
conjunction with the Irish Translators’ and Interpreters’ Association.
My grateful thanks go to all three organizations. I would also like to
thank my colleague, Gareth Walters, not only for his contribution to
this venture, but for suggesting changes to the translation. I must
thank the Heirs of Federico Garcia Lorca for permission to publish
this selection; and Bill Kosmas, acting on their behalf. Once more,
Judith Luna has been a tactful and skilful editor. Chris and Fen
Tyler saw to it that I received a scarce copy of the Green Horse
Press’s bilingual Sonnets of Dark Love — a generous gesture by them
and Green Horse, much appreciated. Finally, to my wife Claire, who
not only showed me much of Lorca’s botany in situ during our
Andalusian holidays, but also unobtrusively supported this project
from first stirrings to bookshop shelf, go all my gratitude, all my
love — and these translations.
M. S.
SELECT BIBLIOGRAPHY
Editions of Lorca ’s Work
Suites , ed. Andre Belamich (Barcelona: Ariel, 1983).
Libro de poemas, ed. Mario Hernandez (Madrid: Alianza, 1984).
Poema del Cante Jondo; Romancero gitano, ed. Allen Josephs and Juan
Caballero, 8th edn. (Madrid: Catedra, 1985).
Canciones y primeras canciones , ed. Piero Menarini (Madrid: Espasa-Calpe,
1986).
Divan del Tamarit; Seis Poemas Galegos; Llanto por Ignacio Sanchez Mejias,
ed. Andrew A. Anderson (Madrid: Espasa-Calpe, 1988).
Collected Poems, rev. bilingual edn., ed. Christopher Maurer (New York:
Farrar, Strauss and Giroux, 2002).
Biography
Gibson, Ian, The Death of Lorca (London: Paladin, 1974).
Federico Garcia Lorca (London and Boston: Faber and Faber, 1989).
Stainton, Leslie, Lorca: A Dream of Life (London: Bloomsbury, 1999).
Critical Studies
Anderson, Andrew A., Lorca ’s Late Poetry: A Critical Study (Leeds: Francis
Cairns, 1990).
Bonaddio, Federico, ‘Lorca’s “Romance sonambulo”: The Desirability of
Non-Disclosure’, Bulletin of Hispanic Studies, 72 (1995), 385--401.
Dennis, Nigel, ‘Lorca in the Looking-Glass: On Mirrors and Self-
Contemplation’, in C. Brian Morris (ed.), ‘Cuando yo me muera’: Essays
in Memory of Federico Garcia Lorca (Lanham, Md., New York, and
London: University Press of America, 1988), 41-55.
Gibson, Ian, ‘Lorca’s Balada triste : Children’s Songs and the Theme of
Sexual Disharmony in Libro de poemas', Bulletin of Hispanic Studies, 46
(1969), 21-38.
Harris, Derek, Garcia Lorca: Poeta en Nueva York, Critical Guides to
Spanish Texts, 24 (London: Grant & Cutler, 1978).
Loughran, David K., Federico Garcia Lorca: The Poetry of Limits (London:
Tamesis Books, 1978).
Morris, C. Brian (ed.), Son of Andalusia: The Lyrical Landscapes of Federico
Garcia Lorca (Nashville: Vanderbilt University Press, 1997).
Stanton, Edward F., The Tragic Myth: Lorca and 'Cante Jondo’ ( Lexington,
Ky.: University of Kentucky Press, 1978).
xxviii Select Bibliography
Walters, D. Gareth, ‘ “Comprendi. Pero no explico”: Revelation and
Concealment in Lorca’s Canciones ’, Bulletin of Hispanic Studies , 68
(1991), 265-79.
‘The Queen of Castile and the Andalusian Spinster: Lorca’s Elegies
for Two Women’, in Robert Harvard (ed.), Lorca: Poet and Playwright
(Cardiff and New York: University of Wales Press and St Martin’s
Press, 1992), 9-30.
Canciones and the Early Poetry of Lorca: A Study in Critical Methodology
and Poetic Maturity (Cardiff: University of Wales Press, 2002).
Further Reading in Oxford World’s Classics
Lorca, Federico Garcia, Four Major Plays, trans. John Edmunds.
A CHRONOLOGY OF
FEDERICO GARCIA LORCA
1898 Born in Fuentevaqueros in the vale of Granada.
1907 Family move to Asquerosa (setting for Bernarda Alba).
1909-19 Granada. Early musical studies, but enters University Faculty of
Letters (1915). Among family friends are Socialist professor
Fernando de los Rios and composer Manuel de Falla.
1918 First book, Impressions and Landscapes, published.
1919-28 Based in Residencia de Estudiantes, Madrid. Friends there
include Luis Bunuel, poets Jorge Guillen, Rafael Alberti (1924),
and Salvador Dali (1923).
1920 First play, The Butterfly’s Evil Spell, performed.
1921 Publishes Book of Poems. Begins Songs, and the cante jondo
poems.
1922 With Falla, organizes cante jondo festival in Granada.
1923 Begins Mariana Pineda, Gypsy Ballads , The Prodigious
Shoemaker’s Wife.
1924 Jose Moreno Villa shows him a description of rosa mutabilis.
1925—8 Close friendship and collaboration with Dali. Growing interest
in literary experiment: Ode to Salvador Dali, Buster Keaton’s
Walk, Love of Don Perlimplin and Belisa in her Garden.
1927 Participates in Gongora tercentenary. Publishes Songs. Mariana
Pineda performed (June). Exhibition of his drawings in Barcelona
(July).
1928 Gypsy Ballads published. Rupture with Dali. Reads press
reports of Nijar murder case (kernal of Blood Wedding).
1929 Personal and artistic anxieties multiply. Goes to study at Columbia
University (June). Experiences of New York, Wall Street crash,
Black life of Harlem, evoke more radical forms of expression:
Poet in New York, The Public.
1930 Travels to Cuba (March). Yerma in progress. In Madrid from
June: reads the explicitly homosexual The Public to friends. The
Prodigious Shoemaker’s Wife performed (December).
1931 Writes Once Five Years Pass. Publishes Poem of the Ca nte Jondo
Second Republic proclaimed in April.
xxx Chronology
1932-4 Director of travelling student theatre, ‘La barraca’ (part of
Republican government’s cultural outreach).
1932 Reads the complete Blood Wedding to friends (September).
1933 Blood Wedding performed (8 March). Theatre-club performance
of Don Perlimplm. Centre-right government takes office in
autumn. Lorca visits Argentina (September 1933— March 1934).
Partial reading of Yerma. Meets cousin’s former fiance (story
featured in Doha Rosita).
1934 Completes Yerma and The Tamarit Divan. Composes Lament for
bullfighter Ignacio Sanchez Mejias, killed in August.
Abortive October Revolution followed by repression. Lorca sup-
ports appeals for clemency. Yerma performed (29 December).
1935 Lament for Ignacio Sanchez Mejias published (May). Final draft-
ing of Poet in New York (August). Signs anti-fascist manifesto
(November). Doha Rosita the Spinster performed (12 December).
1936 Popular Front wins elections (16 February). Lorca signs appeal
for peaceful co-operation. Joins in homage to Alberti (February),
Luis Cernuda (April), and French Popular Front delegates (May).
Writing Sonnets of Dark Love , and projects for theatre. The
House of Bernarda Alba completed (19 June); read to friends
(24 June).
Political tension increases. Lorca travels to Granada on 13 July.
Military uprising (17 July) seizes power in Granada (20—3 July).
Mass arrests and killings.
19 August: Lorca murdered by firing squad at Viznar.
SELECTED POEMS
Poemas de Libro de Poemas
Cancion otonal
Noviembre de igi8
(Granada)
Hoy siento en el corazon
un vago temblor de estrellas
pero mi senda se pierde
en el alma de la niebla.
La luz me troncha las alas
y el dolor de mi tristeza
va mojando los recuerdos
en la fiiente de la idea.
Todas las rosas son blancas,
tan blancas como mi pena,
y no son las rosas blancas,
que ha nevado sobre ellas.
Antes tuvieron el iris.
Tambien sobre el alma nieva.
La nieve del alma tiene
copos de besos y escenas
que se hundieron en la sombra
o en la luz del que las piensa.
La nieve cae de las rosas
pero la del alma queda,
y la garra de los anos
hace un sudario con ella.
;Se deshelara la nieve
cuando la muerte nos lleva?
lO despues habra otra nieve
y otras rosas mas perfectas?
;Sera la paz con nosotros
como Cristo nos ensena?
From Book of Poems
Autumn Song
November igi8
(Granada)
Today in my heart
a vague trembling of stars,
but my way is lost
in the soul of the mist.
Light lops my wings.
The hurt of my sadness
moistens memories
in thought’s fountain.
All roses are white,
white as my pain,
white only when
snow’s fallen on them.
Earlier they wore a rainbow.
Snow’s also falling on the soul.
The soul’s snow is kissed
by flakes and scenes
lost before in the shadow
or the light of the person thinking.
Snow falls from roses,
but remains on the soul,
and the year’s thick needle
makes a shroud of them.
Will the snow melt
when death claims us?
Or will there be more snow
and more perfect roses?
Will we know peace
as Christ promises?
Libro de Poemas
;() nunca sera posible
la solucion del problema?
;Y si el Amor nos engana?
iQuien la vida nos alienta
si el crepusculo nos hunde
en la verdadera ciencia
del Bien que quiza no exista
y del Mai que late cerca?
Si la esperanza se apaga
y la Babel se comienza,
d'que antorcha iluminara
los caminos en la Tierra?
Si el azul es un ensueno,
d'que sera de la inocencia?
,;Que sera del corazon
si el Amor no tiene flechas?
Y si la muerte es la muerte,
d'que sera de los poetas
y de las cosas dormidas
que ya nadie las recuerda?
jOh sol de las esperanzas!
jAgua clara! jLuna nueva!
jCorazones de los ninos!
jAlmas rudas de las piedras!
Hoy siento en el corazon
un vago temblor de estrellas
y todas las rosas son
tan blancas como mi pena.
5
Book of Poems
Or can it never be
for us?
And what if love’s a trick?
Who’ll salvage our lives
if gathering gloom buries us
in the certainty of Good,
unreal perhaps,
and of Evil throbbing very close?
What if hope dies
and Babel* rises?
What torch will light
earth’s pathways?
If blue is dream
what then innocence?
What awaits the heart
if Love bears no arrows?
If death is death,
what then of poets
and the hibernating things
no one remembers?
Sun of our hopes!
Clear water! New moon!
Hearts of children!
Rough souls of the stones!
Today in my heart
a vague trembling of stars
and all roses are
as white as my pain.
Libro de Poemas
Cancion menor
Diciembre de igi8
(Granada)
Tienen gotas de rocio
las alas del ruisenor,
gotas claras de la luna
cuajadas por su ilusion.
Tiene el marmol de la fiiente
el beso del surtidor,
sueno de estrellas humildes.
Las ninas de los jardines
me dicen todas adios
cuando paso. Las campanas
tambien me dicen adios.
Y los arboles se besan
en el crepusculo. Yo
voy llorando por la calle,
grotesco y sin solucion,
con tristeza de Cyrano
y de Quijote,
redentor
de imposibles infinitos
con el ritmo del reloj.
Y veo secarse los lirios
al contacto de mi voz
manchada de luz sangrienta,
y en mi lirica cancion
llevo galas de payaso
empolvado. El amor
bello y lindo se ha escondido
bajo una arana. El sol
como otra arana me oculta
con sus patas de oro. No
conseguire mi ventura,
pues soy como el mismo Amor,
Book of Poems
Minor Song
December igi8
(Granada)
Dewdrops
on nightingale’s wings,
clear droplets of moon
shaped by illusion.
On the fountain’s marble
the waterspout’s kiss,
dream of humble stars.
The girls in the gardens
all bid me farewell
as I pass. Bells too
bid me farewell
and trees kiss
in the half-light. I
go down the street weeping,
grotesque, no answers,
sad as Cyrano*
sad as Don Quixote,*
redeeming
impossible infinites
with the rhythm of clocks.
I see irises dry
touched by my voice
bloodstained by light,
and in my lyric song
I wear the costume
of a grease-painted clown.
Beautiful marvellous love
hides under a spider. The sun
like another spider hides me
beneath its golden legs. I shan’t
find happiness,
I’m like Love
Libro de Poemas
cuyas flechas son de llanto,
y el carcaj el corazon.
Dare todo a los demas
y llorare mi pasion
como nino abandonado
en cuento que se borro.
Balada triste
Pequeno poema
Abril de igi8
(Granada)
jMi corazon es una mariposa,
ninos buenos del prado!,
que presa por la arana gris del tiempo
tiene el polen fatal del desengano.
De nino yo cante como vosotros,
ninos buenos del prado,
solte mi gavilan con las temibles
cuatro unas de gato.
Pase por el jardin de Cartagena,
la verbena invocando,
y perdi la sortija de mi dicha
al pasar el arroyo imaginario.
Fui tambien caballero
una tarde fresquita de Mayo.
Ella era entonces para mi el enigma,
estrella azul sobre mi pecho intacto.
Cabalgue lentamente hacia los cielos,
era un domingo de pipirigallo,
y vi que en vez de rosas y claveles
ella tronchaba lirios con sus manos.
Yo siempre fui intranquilo,
ninos buenos del prado.
Book of Poems
whose arrows are tears,
whose quiver the heart.
I’ll give everything to others
and weep my passion
like the child abandoned
in a story crossed out.
Sad Ballad
Little poem
April igi8
( Granada )
My heart’s a butterfly,
good children of the field,
pinned by time’s grey spider,
filled with disillusionment’s deadly pollen.
When I was a boy I sang like you,
good children of the field,
I let loose my sparrow-hawk
with its four frightful cat-claws.
I went through Cartagena’s garden
imploring the verbena
and lost my good luck ring
when I crossed the invented stream.
I was a horseman too
one fresh afternoon in May.
She was my enigma then,
blue star on my unspoiled chest.
Slowly I rode towards the skies.
That Sunday of sainfoin
I saw her hands were cutting lilies
not roses and carnations.
Always I was restless,
good children of the field.
10
Libro de Poemas
el ella del romance me surma
en ensonares claros.
iQuien sera la que coge los claveles
y las rosas de Mayo?
;Y por que la veran solo los ninos
a lomos de Pegaso?
;Sera esa misma la que en los rondones
con tristeza llamamos
Estrella, suplicandole que saiga
a danzar por el campo?...
En abril de mi infancia yo cantaba,
ninos buenos del prado,
la ella impenetrable del romance
donde sale Pegaso.
Yo decia en las noches la tristeza
de mi amor ignorado,
y la luna lunera, jque sonrisa
ponia entre sus labios!
iQuien sera la que corta los claveles
y las rosas de Mayo?
Y de aquella chiquita, tan bonita,
que su madre ha casado,
i'en que oculto rincon de cementerio
dormira su fracaso?
Yo solo con mi amor desconocido,
sin corazon, sin llantos,
hacia el techo imposible de los cielos
con un gran sol por baculo.
iQue tristeza tan seria me da sombra!,
ninos buenos del prado,
como recuerda dulce el corazon
los dias ya lejanos...
iQuien sera la que corta los claveles
y las rosas de Mayo?
Book of Poems
the she of the romance engulfed me
in limpid dreams:
who’ll pick the May roses
and carnations?
Why will only the children
riding Pegasus* see her,
she who round here
with sadness we name
star, imploring her to come
and dance around the field? . . .
Good children of the field,
in the April of my childhood I sang
the impregnable she of the romance
where Pegasus rides out.
By night I told the sadness
of my unsuspected love —
and what a smile the moonish moon
wore on its lips!
Who’ll cut the May roses
and carnations?
And that so pretty little girl,
given in marriage by her mother,
in what dark cemetery plot
will they lay her ruin?
I alone with my undiscovered love,
without heart, without tears,
towards the skies’ impossible roof
with a huge sun to console me.
Such grave sadness shades me!
Good children of the field,
how sweet the heart’s memories
of days so quickly done...
Who’ll cut the May roses
and carnations?
Libro de Poemas
Elegia
Diciembre de igi8
(Granada)
Como un incensario lleno de deseos,
pasas en la tarde luminosa y clara
con la carne oscura de nardo marchito
y el sexo potente sobre tu mirada.
Llevas en la boca tu melancolla
de pureza muerta, y en la dionisiaca
copa de tu vientre la arana que teje
el velo infecundo que cubre la entrana
nunca florecida con las vivas rosas,
fruto de los besos.
En tus manos blancas
llevas la madeja de tus ilusiones,
muertas para siempre, y sobre tu alma
la pasion hambrienta de besos de fuego
y tu amor de madre que suena lejanas
visiones de cunas en ambientes quietos,
hilando en los labios lo azul de la nana.
Como Ceres dieras tus espigas de oro
si el amor dormido tu cuerpo tocara,
y como la virgen Maria pudieras
brotar de tus senos otra Via Lactea.
Te marchitaras como la magnolia.
Nadie besara tus muslos de brasa.
Ni a tu cabellera llegaran los dedos
que la pulsen como las cuerdas de un arpa.
jOh mujer potente de ebano y de nardo!,
cuyo alien to tiene blancor de biznagas.
Venus del manton de Manila que sabe
del vino de Malaga y de la guitarra.
Book of Poems
i3
Elegy
December igi8
(Granada)
Like a censer filled with desires,
you pass through clear evening,
flesh dark as spent spikenard;
your face pure sex.
On your mouth, dead chastity’s
melancholy; in your womb’s
Dionysian* chalice the spider weaves a barren veil
to hide flesh spurned by living roses,
the fruit of kisses.
In your white hands
the twist of lost illusions,
and on your soul a passion
hungry for kisses of fire,
and your mother-love dreaming distant
pictures of cradles in calm places,
lips spinning azure lullabies.
Like Ceres,* you’d offer golden corn
to have sleeping love touch your body;
to have another Milky Way
flow from your virgin breasts.
You’ll wither like the magnolia.
No kisses burnt on your thighs,
no fingers in your hair,
playing it like a harp.
Woman strong with ebony and spikenard,
breath white as lilies,
Venus of the Manila shawl tasting
of Malaga wine and guitars!
Libro de Poemas
jOh cisne moreno!, cuyo lago tiene
lotos de saetas, olas de naranjas
y espumas de rojos claveles que aroman
los nidos marchitos que hay bajo sus alas.
Nadie te fecunda. Martir andaluza,
tus besos debieron ser bajo una parra
plenos del silencio que tiene la noche
y del ritmo turbio del agua estancada.
Pero tus ojeras se van agrandando
y tu pelo negro va siendo de plata;
tus senos resbalan escanciando aromas
y empieza a curvarse tu esplendida espalda.
jOh mujer esbelta, maternal y ardiente!
Virgen dolorosa que tiene clavadas
todas las estrellas del cielo profundo
en su corazon, ya sin esperanza.
Eres el espejo de una Andalucia
que sufre pasiones gigantes y calla,
pasiones mecidas por los abanicos
y por las mantillas sobre las gargantas
que tienen temblores de sangre, de nieve
y aranazos rojos hechos por miradas.
Te vas por la niebla del Otono, virgen
como Ines, Cecilia y la dulce Clara,
siendo una bacante que hubiera danzado
de pampanos verdes y vid coronada.
La tristeza inmensa que flota en tus ojos
nos dice tu vida rota y fracasada,
la monotonia de tu ambiente pobre
viendo pasar gente desde tu ventana,
oyendo la lluvia sobre la amargura
que tiene la vieja calle provinciana,
mientras que a lo lejos suenan los clamores
turbios y confusos de unas campanadas.
Book of Poems
Black swan* on a lake of suet a
lotuses, waves of orange
and spray of red carnations scenting
the withered nests beneath its wings.
Andalusian martyr, left barren.
Your kisses should have been beneath a vine,
filled with night’s silence,
stagnant water’s cloudy rhythm.
But below your eyes circles start,
and your black hair turns silver.
Your breasts ease, spreading their scent
and your splendid shoulders start to stoop.
Slender woman, meant for motherhood, burning!
Virgin of sorrows;
forever hopeless heart
nailed by every star of the deep sky.
You’re the mirror of an Andalusia
sulfering and stifling great passions,
passions swaying to fans
and mantillas at throats
shivering with blood, with snow,
red scratch-marks of gazing eyes on them.
Like Ines,* Cecilia,* and sweet Clara,*
you go through autumn mists, a virgin,
a bacchante who’d have danced
in garlands of green shoots and vine.
The great sadness floating in your eyes
tells us your broken, shattered life,
the monotony of your bare world,
at your window watching people pass,
hearing rain fall on the bitterness
of the old provincial streets;
far away, a troubled clash of bells.
Libro de Poemas
Mas en vano escuchaste los acentos del aire.
Nunca llego a tu oido la dulce serenata.
Detras de tus cristales aun miras anhelante.
jQue tristeza tan honda tendras dentro del alma
al sentir en el pecho ya cansado y exhausto
la pasion de una nina recien enamorada!
Tu cuerpo ira a la tumba
intacto de emociones.
Sobre la oscura tierra
brotara una alborada.
De tus ojos saldran dos claveles sangrientos
y de tus senos rosas como la nieve blancas.
Pero tu gran tristeza se ira con las estrellas
como otra estrella digna de herirlas y eclipsarlas.
Aire de nocturno
79/9
Tengo mucho miedo
de las hojas muertas,
miedo de los prados
llenos de rocio.
Yo voy a dormirme;
si no me despiertas,
dejare a tu lado mi corazon frio.
«iQue es eso que suena
muy lejos?»
«Amor,
el viento en las vidrieras,
jamor mio!>>
Te puse collares
con gemas de aurora.
;Por que me abandonas
en este camino?
Si te vas muy lejos
17
Book of Poems
But you listened to the air’s accents in vain.
The sweet serenade never reached you.
Behind your windows still you look and yearn.
The sadness that will flood your soul
when your wasted breast discovers
the passion of a girl new to love.
Your body will be buried
untouched by emotion.
A dawn song will spread
across the dark earth.
Two blood-red carnations will spring from your eyes,
and from your breasts, snow-white roses.
But your great sadness will join the stars,
a new star to wound and outshine the skies.
Nocturnal Air
1919
I’m petrified
by dead leaves,
by meadows
full of dew.
I’ll sleep.
If you don’t wake me,
I’ll leave beside you my cold heart.
‘What’s that sound
so far away?’
‘Love.
The wind on the panes,
my love!’
Round your neck I placed
the gems of dawn.
Why do you desert me
on this road?
If you go oft so far
Libro de Poemas
mi pajaro llora
y la verde vina
no dara su vino.
«iQue es eso que suena
muy lejos?»
«Amor,
el viento en las vidrieras,
jamor mio!»
Tu no sabras nunca,
esfinge de nieve,
lo mucho que yo
te hubiera querido
esas madrugadas
cuando tanto llueve
y en la rama seca
se deshace el nido.
«iQue es eso que suena
muy lejos?»
«Amor,
el viento en las vidrieras,
jamor mio!»
Cancion primaveral
28 de marzo de igig
(Granada)
1
Salen los ninos alegres
de la escuela,
poniendo en el aire tibio
del Abril, canciones tiernas.
jQue alegria tiene el hondo
silencio de la calleja!
Un silencio hecho pedazos
por risas de plata nueva.
Book of Poems
my bird sobs,
and the green vineyard
won’t give its wine.
‘What’s that sound
so far away?’
‘Love.
The wind on the panes,
my love!’
You’ll never know
how much I’d
have loved you,
snow-sphinx,
in those dawns
when it rains so hard
and the nest comes apart
on the dry branch.
‘What’s that sound
so far away?’
‘Love.
The wind on the panes,
my love!’
Spring Song
28 March igig
(Granada)
1
Happy children emerge
from school
sending tender songs
into mild April air.
Such joy for the deep
silence of the alleyway!
A silence smashed to pieces
by bright new silver laughter.
20
Libro de Poemas
ii
Voy camino de la tarde
entre flores de la huerta
dejando sobre el camino
el agua de mi tristeza.
En el monte solitario
un cementerio de aldea
parece un campo sembrado
con granos de cala veras.
Y han florecido cipreses
como gigantes cabezas
que con orbitas vacias
y verdosas cabelleras
pensativos y dolientes
el horizonte contemplan.
j Abril divino, que vienes
cargado de sol y esencias,
llena con nidos de oro
las floridas calaveras!
Sueno
Mayo de i gig
Mi corazon reposa junto a la fuente fria.
(Llenalo con tus hilos,
arana del olvido.)
El agua de la fuente su cancion le decia.
(Llenalo con tus hilos,
arana del olvido.)
Mi corazon despierto sus amores decia.
(Arana del silencio,
tejele tu misterio.)
Book of Poems
21
ii
I take the afternoon path
among orchard flowers
leaving on the way
the water of my sadness.
On the lonely hill
a village cemetery
looks like a field sown
with seeds of skulls.
Cypresses have flourished
like green-haired
hollow-socket
giant heads
pensive and in pain
contemplating the horizon.
Sacred April, now here
with your cargoes of essence and sun,
fill the flowering skulls
with nests of gold!
Dream
May igig
My heart rests beside the cool fountain.
(Fill it with your thread,
spider of oblivion.)
The fountain water sang it its song.
(Fill it with your thread,
spider of oblivion.)
My wakened heart told of its loves.
(Spider of silence
spin it your mystery.)
Libro de Poemas
El agua de la fiiente lo escuchaba sombria.
(Arana del silencio,
tejele tu misterio.)
Mi corazon se vuelca sobre la fuente fria.
(jManos blancas, lejanas,
detened a las aguas!)
Y el agua se lo lleva cantando de alegria.
(jManos blancas, lejanas,
nada queda en las aguas!)
Balada de la placeta
X 9 X 9
Cantan los ninos
en la noche quieta:
jArroyo claro,
fuente serena!
LOS NINOS
iQue tiene tu divino
corazon en fiesta?
YO
Un doblar de campanas
perdidas en la niebla.
LOS NINOS
Ya nos dejas cantando
en la plazuela.
jArroyo claro,
fuente serena!
,;Que tienes en tus manos
de primavera?
23
Book of Poems
The shadowed water listened.
(Spider of silence,
spin it your mystery.)
My heart capsizes in the cold fountain.
(White hands, far away,
hold back the waters.)
And the water carries it off singing with joy.
(White hands, far away,
nothing remains in the waters!)
Ballad of the Little Square
igig
In the still night
the children sing.
Clear stream,
calm fountain!
THE CHILDREN
What’s in your festive
godly heart?
i
A toll of bells
lost in mist.
THE CHILDREN
Now you leave us singing
on the little square,
clear stream,
calm fountain!
What do you hold
in your springtime hands?
Libro de Poemas
YO
Una rosa de sangre
y una azucena.
LOS NINOS
Mojalas en el agua
de la cancion aneja.
jArroyo claro,
fuente serena!
iQue sientes en tu boca
roja y sedientaP
YO
El sabor de los huesos
de mi gran calavera.
LOS NINOS
Bebe el agua tranquila
de la cancion aneja.
jArroyo claro,
fuente serena!
d'Por que te vas tan lejos
de la plazuela?
YO
jVoy en busca de magos
y de princesas!
LOS NINOS
iQuien te enseno el camino
de los poetas?
YO
La fuente y el arroyo
de la cancion aneja.
LOS NINOS
i'Te vas lejos, muy lejos
del mar y de la tierra?
Book of Poems
25
1
A rose of blood
and a white lily.
THE CHILDREN
Wet them in the water
of the ancient song.
Clear stream,
calm fountain!
What’s in your red
and thirsty mouth?
1
The bone-taste
of my great skull.
THE CHILDREN
Drink the calm water
of the ancient song.
Clear stream,
calm fountain!
Why do you stray so far
from the little square?
1
I go in search of sorcerers
and princesses!
THE CHILDREN
Who taught you the way
of the poets?
1
The stream and the fountain
of the ancient song.
THE CHILDREN
Are you going very, very far
from the sea and the earth?
26
Libro de Poemas
YO
Se ha llenado de luces
mi corazon de seda,
de campanas perdidas,
de lirios y de abejas.
Y yo me ire muy lejos,
mas alia de esas sierras,
mas alia de los mares,
cerca de las estrellas,
para pedirle a Cristo
Senor que me devuelva
mi alma antigua de nino,
madura de leyendas,
con el gorro de plumas
y el sable de madera.
LOS NINOS
Ya nos dejas cantando
en la plazuela:
jArroyo claro,
fuente serena!
Las pupilas enormes
de las frondas resecas,
heridas por el viento,
lloran las hojas muertas.
La balada del agua del mar
1920
A Emilio Prados
(cazador de nubes )
El mar
sonrie a lo lejos.
Dientes de espuma,
labios de cielo.
— i'Que vendes, oh joven turbia,
con los senos al aire?
Book of Poems
i
My silk heart’s
filled with lights,
lost bells,
lilies and bees,
and I’ll go far,
further than these mountains,
further than the seas,
close to the stars
and I’ll say to Christ,
Lord, give me back
the child’s soul I once had,
steeped in legends,
with the feathered cap
and the wooden sabre.
THE CHILDREN
And now you leave us singing
on the little square,
clear stream,
calm fountain!
Huge pupils
of dried-out fronds,
wounded by the wind,
weep for dead leaves.
Seawater Ballad
ig2o
To Emilio Prados
(hunter of clouds)
The sea
smiles from afar.
Teeth of foam,
lips of sky.
‘What do you sell, young,
troubled, bare-breasted woman?’
28
Libro de Poemas
— Vendo, senor, el agua
de los mares.
— i'Que llevas, oh negro joven,
mezclado con tu sangre?
— Llevo, senor, el agua
de los mares.
— ;F,sas lagrimas salobres
de donde vienen, madre?
— Lloro, senor, el agua
de los mares.
— Corazon, ;y esta amargura
seria, de donde nace?
— jAmarga mucho el agua
de los mares!
El mar
sonrie a lo lejos.
Dientes de espuma,
labios de cielo.
Sueno
Mayo de i gig
Iba yo montado sobre
un macho cabrlo.
El abuelo me hablo
y me dijo:
«Ese es tu camino.»
«jEs ese!», grito mi sombra,
disfrazada de mendigo.
«jEs aquel de oro!», dijeron
mis vestidos.
Un gran cisne me guino,
Book of Poems
29
‘Sir, the water of the seas.’
‘What is it that’s mixed, dark boy,
with your blood?’
‘Sir, the water of the seas.’
‘Where do those salt tears
come from, mother?’
‘Sir, my eyes weep the water of the seas.’
‘Heart, what is the source
of this grave bitterness?’
‘The water of the seas
spreads a bitter cover!’
The sea
smiles from afar.
Teeth of foam,
lips of sky.
Dream
May igig
I rode astride
a billy goat.
Grandfather said to me:
‘Your way lies there.’
‘Yes, yes’, shouted my shadow,
dressed like a beggar.
My clothes said:
‘It’s paved with gold!’
A great swan winked and said:
‘Follow me!’
3 °
Libro de Poemas
diciendo: «jVente conmigo!»
Y una serpiente mordia
mi sayal de peregrino.
Mirando al cielo, pensaba:
«Yo no tengo camino.
Las rosas del fin seran
como las del principio.
En niebla se convierte
la carne y el rocio.»
Mi caballo fantastico me lleva
por un campo rojizo.
«jDejame!», clamo, llorando,
mi corazon pensativo.
Yo lo abandone en la tierra,
lleno de tristeza.
Vino
la noche, llena de arrugas
y de sombras.
Alumbran el camino,
los ojos luminosos y azulados
de mi macho cabrio.
Otra cancion
igig ( Otono )
jEl sueno se deshizo para siempre!
En la tarde lluviosa
mi corazon aprende
la tragedia otonal
que los arboles llueven.
Y en la dulce tristeza
del paisaje que muere
Book of Poems
and a snake bit
my pilgrim smock.
I looked at the sky and thought:
‘Where is my path?
The last roses will be
like the first.
In the mist flesh
changes, and dew.’
My fantasy horse bears me
over red land.
‘Let me be!’ my pensive heart
shouted, weeping.
I left it in the earth,
filled with sadness.
Night came
full of folds
and shadows.
The way is lit
by the luminous azure eyes
of my billy goat.
Another Song
i gig ( Autumn )
The dream came apart for good!
In the rain-swept afternoon
my heart discovers
the tragedy of autumn
raining from the trees.
And in the sweet sadness
of the dying landscape
Libro de Poemas
mis voces se quebraron.
El sueno se deshizo para siempre.
jPara siempre! jDios mio!
Va cayendo la nieve
en el campo desierto
de mi vida,
y teme
la ilusion, que va lejos,
de helarse o de perderse.
jComo me dice el agua
que el sueno se deshizo para siempre!
i‘El sueno es infinitoP
La niebla lo sostiene,
y la niebla es tan solo
cansancio de la nieve.
Mi ritmo va contando
que el sueno se deshizo para siempre.
Y en la tarde brumosa
mi corazon aprende
la tragedia otonal
que los arboles llueven.
El macho cabrio
1919
El rebano de cabras ha pasado
junto al agua del rio.
En la tarde de rosa y de zafiro,
llena de paz romantica,
yo miro
al gran macho cabrio.
jSalve, demonio mudo!
Eres el mas
intenso animal.
Book of Poems
my voices cracked.
The dream came apart for good.
For good!
Snow’s felling
on the barren field
of my life;
everywhere the dread
of freezing or getting lost.
How the water tells me
that the dream came apart for good!
Dream without end?
The mist says so,
and the mist is just
the snow’s respite.
My rhythm’s story is
that the dream came apart for good.
And in the misty afternoon
my heart discovers
the tragedy of autumn
raining from the trees.
The Billy Goat
igig
The herd of goats passed where
the river flows.
In the sapphire pink afternoon
heavy with romantic peace,
I watch
the great billy goat.
Greetings, mute demon,
you most intense of animals,
eternal mystic
Libro de Poemas
Mistico eterno
del infierno
carnal...
jCuantos encantos
tiene tu barba,
tu frente ancha,
rudo don Juan!
jQue gran acento el de tu mirada
mefistofelica
y pasional!
Vas por los campos
con tu manada
hecho un eunuco
jsiendo un sultan!
Tu sed de sexo
nunca se apaga;
jbien aprendiste
del padre Pan!
La cabra,
lenta te va siguiendo,
enamorada con humildad;
mas tus pasiones son insaciables;
Grecia vieja
te comprendera.
jOh ser de hondas leyendas santas,
de ascetas flacos y Satanas
con piedras negras y cruces toscas,
con fieras mansas y cuevas hondas
donde te vieron entre la sombra
soplar la llama
de lo sexual!
jMachos cornudos
de bravas barbas!
jResumen negro a lo medieval!
Book of Poems
35
of hell
made flesh...
So many spells
in your beard,
on your broad brow,
you brute Don Juan!*
Such force
in those insane
Mephistophelian* eyes!
You roam the fields
with your fellows,
emasculated
when you’re really a sultan!
Your need of sex
is never satisfied.
Father Pan* taught you well!
The nanny goat
follows you cautiously,
humble in her love;
but your passions have no boundaries;
Ancient Greece
would have understood.
You come from the oldest Bible tales
of withered ascetics and Satan
with black stones, rude crosses,
tame beasts, and hollow caves
where in the shadows
they watched you
fan the flames of sex!
Maleness
of wild beard and horn!
Dark emblems of the medieval world!
Libro de Poemas
Nacisteis juntos con Filomnedes
entre la espuma casta del mar,
y vuestras bocas
la acariciaron
bajo el asombro del mundo astral.
Sois de los bosques llenos de rosas
donde la luz es huracan;
sois de los prados de Anacreonte,
llenos con sangre de lo inmortal.
jMachos cabrios!
Sois metamorfosis
de viejos satiros
perdidos ya.
Vais derramando lujuria virgen
como no tuvo otro animal.
illuminados del Mediodia!
Pararse en firme
para escuchar
que desde el fondo de las campinas
el gallo os dice:
«jSalud!», al pasar.
37
Book of Poems
You were born with Philommedes*
in the sea’s chaste spray
which your mouths kissed
beneath astonished stars.
You come from rose-filled woods
of hurricane-light;
from Anacreon’s* fields
swamped with immortal blood.
Billy goats,
metamorphosis
of old satyrs
gone for good!
Without another animal
you spill virgin lechery.
Luminous Southern beings!
Stand still to hear the cock
in a lost field
wish you God speed!
as you pass by.
Poemas de Suites
Cancion con reflejo
En la pradera bailaba
mi corazon
(era la sombra
de un cipres
sobre el viento)
y un arbol destrenzaba
la brisa del rocio.
jLa brisa!
Plata del tacto.
Yo decia: ;recuerdas?
(No me importa
la estrella
ni la rosa.)
;Rccuerdas?
jOh palabra perdida!
jPalabra
sin horizonte!
;Recuerdas'...
En la pradera bailaba
mi corazon.
(Era la sombra
de un cipres
en el viento.)
From Suites
Song with Reflection
In the meadow
my heart danced
(a cypress shadow
on the wind)
and a tree unplaited
the dew breeze.
Breeze,
silver to the touch!
I said: do you remember?
(The star
the rose
do not concern me.)
Remember?
Lost language!
Language
without horizons!
Remember?
In the meadow
my heart danced
(a cypress shadow
on the wind).
40
Suites
Sesamo
El reflejo
es lo real.
El rio
y el cielo
son puertas que nos llevan
a lo Eterno.
Por el cauce de las ranas
o el cauce de los luceros
se ira nuestro amor cantando,
la manana del gran vuelo.
Lo real
es el reflejo.
No hay mas que un corazon
y un solo viento.
jNo llorar! Da lo mismo
estar cerca
que lejos.
Naturaleza es
el Narciso eterno.
Cancion bajo lagrimas
En aquel sitio,
muchachita de la fuente,
que hay junto al rio,
te quitare la rosa
que te dio mi amigo,
y en aquel sitio,
muchachita de la fuente,
yo te dare mi lirio.
;Por que he llorado tanto?
jEs todo tan sencillo! . . .
Esto lo hare ,no sabes?
cuando vuelva a ser nino.
jAy! jay!
Cuando vuelva a ser nino.
Suites
4i
Sesame
The reflection is
what’s real.
The river
and sky
are doors to take us
to the Eternal.
Down beds of frogs
or beds of bright stars
our love will go off, singing
the morning of the great flight.
The reflection is
what’s real.
Only a heart remains,
only one wind.
Don’t weep!
Near or far,
it’s the same.
Eternal Narcissus,*
Nature’s way.
Song beneath Tears
In that place,
little girl of the fountain,
that place by the river,
I’ll take the rose
my friend gave you,
and in that place,
little girl of the fountain,
I’ll give you my lily.
Why have I wept so much?
It’s all so simple!
Surely you know that I’ll do this
when I’m a child again.
Ay!
when I’m a child.
42
Suites
Paisaje sin cancion
Cielo azul.
Campo amarillo.
Monte azul.
Campo amarillo.
Por la llanura tostada
va caminando un olivo.
Un solo
olivo.
Horizonte
Sobre la verde bruma
se cae un sol sin rayos.
La ribera sombria
suena al par que la barca
y la esquila inevitable
traba la melancolia.
En mi alma de ayer
suena un tamborcillo
de plata.
Pescadores
El arbol gigantesco
pesca con sus lianas
topos raros
de la tierra.
El sauce sobre el remanso
se pesca sus ruisenores.
Suites
43
Landscape without Song
Blue sky.
Yellow field.
Blue mountain.
Yellow field.
Across the scorched plain
an olive tree drifts.
One lone
olive
tree.
Horizon
A sun without rays
spills on green mist.
The shaded riverside
dreams at the pace of a boat
and the unavoidable bell
measures melancholy.
In my spent soul
the sound of a small
silver drum.
Fishermen
The giant tree’s lianas
fish rare moles
from the earth.
Over the pool the willow
fishes nightingales
44
Suites
. . . pero en el anzuelo verde
del cipres la blanca luna
no mordera... ni
tu corazon al mlo,
morenita de Granada.
Delirio
Disuelta la tarde
y en silencio el campo,
los abejarucos
vuelan suspirando.
Los fondos deliran
azules y blancos.
El paisaje tiene
abiertos sus brazos.
jAy, senor, senor!
Esto es demasiado.
En el jardin de las toronjas de luna
Prologo
Asy como la sombra nuestra vida se va,
que nunca mas torna nyn de nos tornara
(Pero Lopez de Ayala, Cornejos morales )
Me he despedido de los amigos que mas quiero para emprender un
corto pero dramatico viaje. Sobre un espejo de plata encuentro
mucho antes de que amanezca el maletin con la ropa que debo usar
en la extrana tierra a que me dirijo.
El perfume tenso y frio de la madrugada bate misteriosamente el
inmenso acantilado de la noche.
En la pagina tersa del cielo temblaba la inicial de una nube, y
debajo de mi balcon un ruisenor y una rana levantan en el aire un
aspa sonolienta de sonido.
Yo, tranquilo pero melancolico, hago los ultimos preparativos,
embargado por sutilisimas emociones de alas y circulos concentricos.
Suites
45
. . . but the white moon won’t take
the cypress’s green bait. . .
nor your heart mine,
dark-haired girl of Granada.
Delirium
Fragmented evening,
field in silence.
Bee-eaters in flight,
a sigh.
Backcloth of blue and white
deliriums.
The landscape opens
its arms wide.
All too much,
Dear God!
In the Garden of Lunar Grapefruit
Prologue
And so like a shadow our life passes,
never to return, nor we.
(Pero Lopez de Ayala, Moral Counsels)
I’ve said goodbye to the friends I love most in order to undertake a
short yet dramatic journey. Long before sunrise, I find on a silver
mirror the small case with the clothes I’ll need in the strange coun-
try I’m making for.
The tense, cold scent of dawn mysteriously strikes the huge slop-
ing cliff of night.
On the stretched page of the sky, the trembling of a cloud’s first
letter; beneath my balcony a nightingale and a frog raise high in the
air a drowsy cross of sound.
As for me. I’m quiet though full of melancholy; I make final prep-
arations, checked by the subtlest emotions of wings and concentric
Suites
46
Sobre la blanca pared del cuarto, yerta y rigida como una serpiente
de museo, cuelga la espada gloriosa que llevo mi abuelo en la guerra
contra el rey don Carlos de Borbon.
Piadosamente descuelgo esa espada, vestida de herrumbre amaril-
lenta como un alamo bianco, y me la cino recordando que tengo que
sostener una gran lucha invisible antes de entrar en el jardin. Lucha
extatica y violentisima con mi enemigo secular, el gigantesco dragon
del Sentido Comun.
Una emocion aguda y elegiaca por las cosas que no han sido, buenas
y malas, grandes y pequenas, invade los paisajes de mis ojos casi ocultos
por unas gafas de luz violeta. Una emocion amarga que me hace cam-
inar hacia este jardin que se estremece en las altisimas llanuras del aire.
Los ojos de todas las criaturas golpean como puntos fosforicos sobre
la pared del porvenir. . . lo de atras se queda lleno de maleza amarilla,
huertos sin frutos y rios sin agua. Jamas ningun hombre cayo de
espaldas sobre la muerte. Pero yo, por un momento, contemplando
ese paisaje abandonado e infinite, he visto pianos de vida inedita,
multiples y superpuestos como los cangilones de una noria sin fin.
Antes de marchar siento un dolor agudo en el corazon. Mi familia
duerme y toda la casa esta en un reposo absoluto. El alba, revelando
torres y contando una a una las hojas de los arboles, me pone un cru-
jiente vestido de encaje luminico.
Algo se me olvida... no me cabe la menor duda... jtanto tiempo
preparandome! y... Senor, ;que se me olvida? j Ah! Un pedazo de
madera... uno bueno de cerezo sonrosado y compacto.
Creo que hay que ir bien presentado... De una jarra con flores
puesta sobre mi mesilla me prendo en el ojal siniestro una gran rosa
palida que tiene un rostro enfurecido pero hieratico.
Ya es la hora.
(En las bandejas irregulares de las campanadas, vienen los kikirikis de
los gallos.)
Suites
47
circles. On the white wall of my room, stiff and rigid like a snake in
a museum, hangs the glory-covered sword my grandfather wielded in
the war against Don Carlos the Pretender.*
Reverently, I take down the sword, coated in pale yellow rust like
a white poplar, and I strap it on, remembering that I shall have to
endure a great and invisible fight before I can enter the garden.
A most violent, ecstatic fight against my secular enemy, the monster
dragon called Common Sense.
A sharp elegy of nostalgia for things that have never been — good,
bad, large, small — invades those landscapes of my eyes which my
tinted glasses all but cancel. A bitter feeling that makes me head
towards this garden shimmering on the highest plains of air.
The eyes of every creature throb like phosphorescent points
against the wall of the future... the things of the past stay filled with
yellow scrub, barren orchards, dried-up rivers. No man ever fell
backwards into death. But I, briefly contemplating this abandoned,
infinite landscape, see early sketches of the life unpublished, multiple
and superimposed, like the scoops of an endless waterwheel.
Preparing to leave, I feel a needle of pain in my heart. My family is
still asleep, and the whole house is in perfect repose. Dawn, reveal-
ing towers, and counting one by one the leaves of the trees, dresses
me in glinting clothes of lace that crackle.
There’s something I’m forgetting. . . I’m absolutely sure of it. . . so
much time getting myself ready! And... Lord, what am I forgetting?
Ah, yes, a scrap of wood. . . a nice piece of cherry wood, rose-coloured,
tight-grained.
I believe in being well turned out when I travel. . . From a vase of
flowers on my side-table, I select a large pale rose and pin it to my
left lapel, a rose with an angry but hieratic face.
The time has come.
(In the clashing silverware of bells, the cockadoodledoos of the
cockerels.)
Poemas de Poema del Cante Jondo
Paisaje
El campo
de olivos
se abre y se cierra
como un abanico.
Sobre el olivar
hay un cielo hundido
y una lluvia oscura
de luceros frios.
Tiembla junco y penumbra
a la orilla del rio.
Se riza el aire gris.
Los olivos
estan cargados
de gritos.
Una bandada
de pajaros cautivos,
que mueven sus larguisimas
colas en lo sombrio.
La guitarra
Empieza el llanto
de la guitarra.
Se rompen las copas
de la madrugada.
Empieza el llanto
de la guitarra.
Es inutil
callarla.
Es imposible
callarla.
Llora monotona
como llora el agua.
From Poem of the Cante Jondo
Landscape
The field
of olive trees
opens and closes
like a fan.
Above the olive grove
a sunken sky,
and a cold dark rain
of morning-stars.
Half-light and rushes tremble
at the river’s edge.
Grey air crinkles.
The olive trees
are freighted
with cries.
A flock
of captive birds
moves long long tails
in the gloom.
The Guitar
The guitar begins
to sob.
Dawn’s drinking cups
smash.
The guitar begins
to sob.
You can’t
make it stop.
Impossible
to silence it.
A monotone of sobs
like water,
50
Poema del Cante Jondo
como llora el viento
sobre la nevada.
Es imposible
callarla.
Llora por cosas
lejanas.
Arena del Sur caliente
que pide camelias blancas.
Llora flecha sin bianco,
la tarde sin manana,
y el primer pajaro muerto
sobre la rama.
jOh guitarra!
Corazon malherido
por cinco espadas.
El grito
La elipse de un grito
va de monte
a monte.
Desde los olivos,
sera un arco iris negro
sobre la noche azul.
jAy!
Como un arco de viola,
el grito ha hecho vibrar
largas cuerdas del viento.
jAy!
(Las gentes de las cuevas
asoman sus velones.)
jAy!
5i
Poem of the Cante Jondo
like wind
over snow.
Impossible
to silence it.
It sobs
for distant things.
Hot Southern sands
imploring white camellias.
It sobs for aimless arrow,
evening without morning,
and the first dead bird
on the branch.
O guitar!
Heart deep-wounded
by five swords.
The Shout
The shout,
an arc
from hill to hill.
A black rainbow will hang
from the olive trees
over blue night.
Ay!
Like a viola bow
the shout’s made the wind’s
long strings vibrate.
Ay!
(The cave-dwellers
bring out their lamps.)
Ay!
52
Poema del Cante Jondo
El silencio
Oye, hijo mio, el silencio.
Es un silencio ondulado,
un silencio,
donde resbalan valles y ecos
y que inclina las frentes
hacia el suelo.
El paso de la Siguiriya
Entre mariposas negras,
va una muchacha morena
junto a una blanca serpiente
de niebla.
Tierra de luz,
cielo de tierra.
Va encadenada al temblor
de un ritmo que nunca llega;
tiene el corazon de plata
y un punal en la diestra.
;Ad6nde vas, Siguiriya,
con un ritmo sin cabeza?
,jQue luna recogera
tu dolor de cal y adelfa?
Tierra de luz,
cielo de tierra.
Despues de pasar
Los ninos miran
un punto lejano.
Los candiles se apagan.
Unas muchachas ciegas
Poem of the Catt le Jondo
The Silence
My child, hear the silence.
An undulating silence,
a silence
of sliding valleys and echoes
tilting brows
towards the ground.
Dancing the Siguiriya
Among black butterflies
a dusky girl walks
with a white snake
of mist.
Earth of light,
sky of earth.
She’s chained to the tremor
of a rhythm that never comes;
she has a heart of silver,
and in her right hand a dagger.
Where’s that headless rhythm
leading you, Siguiriya ?
What moon will gather in
your lime and oleander pain?
Earth of light,
sky of earth.
After Passing By
The children watch
a distant point.
Lamps go out.
Some blind girls
Poema del Cante Jondo
preguntan a la luna,
y por el aire ascienden
espirales de llanto.
Las montanas miran
un punto lejano.
Y despues
Los laberintos
que crea el tiempo,
se desvanecen.
(Solo queda
el desierto.)
El corazon,
fuente del deseo,
se desvanece.
(Solo queda
el desierto.)
La ilusion de la aurora
y los besos,
se desvanecen.
Solo queda
el desierto.
Un ondulado
desierto.
Tierra seca
Tierra seca,
tierra quieta
de noches
mmensas.
Poem of the Cante Jondo
question the moon
and spirals of grief
rise in the air.
The mountains survey
a distant point.
And After
The labyrinths
formed by time
dissolve.
(Only desert
remains.)
The heart,
fountain of desire,
dissolves.
(Only desert
remains.)
The illusion of dawn
and kisses
dissolve.
Only desert
Remains.
Undulating
desert.
Parched Land
Parched land
quiet land
of huge
nights.
Poema del Cante Jondo
(Viento en el olivar,
viento en la sierra.)
Tierra
vieja
del candil
y la pena.
Tierra
de las hondas cisternas.
Tierra
de la muerte sin ojos
y las flechas.
(Viento por los caminos.
Brisa en las alamedas.)
Pueblo
Sobre el monte pelado,
un calvario.
Agua clara
y olivos centenarios.
Por las callejas
hombres embozados,
y en las torres
veletas girando.
Eternamente
girando.
jOh pueblo perdido
en la Andalucia del llanto!
Punal
El punal
entra en el corazon,
como la reja del arado
en el yermo.
Poem of the Cattle Jondo
(Wind in the olive grove,
wind on the sierra.)
Old
land
of lamps
and pain.
Land
of deep reservoirs.
Land
of death without eyes,
and arrows.
(Wind on the paths,
breeze among the poplars.)
Town
A Calvary
on the bare hilltop.
Clear water
and centenarian olive trees.
Down narrow streets
muffled men,
and on towers
spinning weathervanes.
Spinning
for ever.
O lost town
of Andalusia weeping!
Dagger
The dagger
enters the heart
like a plough
in dry soil.
Poema del Cante Jondo
No.
No me lo claves.
No.
El punal,
como un rayo de sol,
incendia las terribles
hondonadas.
No.
No me lo claves.
No.
Encrucijada
Viento del Este,
un farol
y el punal
en el corazon.
La calle
tiene un temblor
de cuerda
en tension,
un temblor
de enorme moscardon.
Por todas partes
yo
veo el punal
en el corazon.
jAy!
El grito deja en el viento
una sombra de cipres.
(Dejadme en este campo
llorando.)
59
Poem of the Cante Jondo
No.
Don ’t thrust it in me.
No.
The dagger
like a ray of sun
sets fire to awful
depths.
No.
Don ’t thrust it in me.
No.
Crossroads
East wind;
a lantern
and dagger
in the heart.
The street
vibrates
like stretched rope,
vibration
of a huge hornet.
Everywhere
I
see the dagger
in the heart.
Ay!
The shout leaves a cypress shadow
on the wind.
(Leave me in this field
weeping.)
Poema del Cante Jondo
Todo se ha roto en el mundo.
No queda mas que el silencio.
(Dejadme en este campo
llorando.)
El horizonte sin luz
esta mordido de hogueras.
(Ya os he dicho que me dejeis
en este campo
llorando.)
Sorpresa
Muerto se quedo en la calle
con un punal en el pecho.
No lo conocia nadie.
jComo temblaba el farol!
Mad re.
jComo temblaba el farolito
de la calle!
Era madrugada. Nadie
pudo asomarse a sus ojos
abiertos al duro aire.
Que muerto se quedo en la calle
que con un punal en el pecho
y que no lo conocia nadie.
La Solea
Vestida con mantos negros
piensa que el mundo es chiquito
y el corazon es inmenso.
Vestida con mantos negros.
Piensa que el suspiro tierno
y el grito, desaparecen
en la corriente del viento.
Poem of the Cante Jondo
All in this world has broken.
All that’s left is silence.
(Leave me in this field
weeping.)
The blackened horizon
is bitten by fires.
(I’ve told you to leave me
in this field
weeping.)
Surprise
He lay in the street, dead,
a dagger through his heart.
No one knew him.
How the lamp shook!
Mother.
How the little street-lamp shook!
It was dawn. No one
could meet his eyes,
open to the hard air.
For he lay in the street, dead,
a dagger through his heart,
and no one knew him.
The Soled
Dressed in black cloaks
she thinks the world tiny,
the heart immense.
Dressed in black cloaks.
She thinks the soft whisper
and the shout vanish
carried off on the wind.
Poema del Cante Jondo
Vestida con mantos negros.
Se dejo el balcon abierto
y al alba por el balcon
desemboco todo el cielo.
i Ay y ay ay ay ay,
que vestida con mantos negros!
Cueva
De la cueva salen
largos sollozos.
(Lo cardeno
sobre lo rojo.)
El gitano evoca
palses remotos.
(Torres altas y hombres
misteriosos.)
En la voz entrecortada
van sus ojos.
(Lo negro
sobre lo rojo.)
Y la cueva encalada
tiembla en el oro.
(Lo bianco
sobre lo rojo.)
Poem of the Cante Jondo
Dressed in black cloaks.
The balcony was open
and at dawn the whole sky
spilt down through the balcony.
Ay ay ay ay ay,
dressed in black cloaks!
Cave
From the cave
come long laments.
(Purple
on red.)
The gypsy conjures
distant lands.
(High towers and men
of mystery.)
His eyes move
to the cracked voice.
(Black
on red.)
And the whitewashed cave
trembles in gold.
(White
on red.)
64
Poema del Cante Jondo
Encuentro
Ni tu ni yo estamos
en disposition
de encontrarnos.
Tu... por lo que ya sabes.
jYo la he querido tanto!
Sigue esa verecita.
En las manos
tengo los agujeros
de los clavos.
;No ves como me estoy
desangrando?
No mires nunca atras,
vete despacio
y reza como yo
a San Cayetano,
que ni tu ni yo estamos
en disposition
de encontrarnos.
Alba
Campanas de Cordoba
en la madrugada.
Campanas de amanecer
en Granada.
Os sienten todas las muchachas
que lloran a la tierna
Solea enlutada.
Las muchachas
de Andalucia la alta
y la baja.
Las ninas de Espana,
de pie menudo
y temblorosas faldas,
que han llenado de luces
las encrucijadas.
Poem of the Cante Jondo
65
Meeting
You and I —
neither ready
to meet.
You. . . you know why.
I loved her so much!
Down this little path.
Nail-holes
in my hands.
Don’t you see
my blood draining?
Never look behind you,
walk slowly away
and like me pray
To Saint Cayetano
for you and I,
neither’s ready
to meet.
Dawn
Cordoba bells
at daybreak.
Dawn bells
in Granada.
All the girls weeping
to the tender, grieving soled
recognize you.
The girls
of High Andalusia and Low.
Young girls of Spain
slight-footed shimmer-skirted
girls who’ve filled crossroads
with lights.
Cordoba bells
at daybreak,
Poenui del Cante Jondo
jOh campanas de Cordoba
en la madrugada,
y oh campanas de amanecer
en Granada!
Arqueros
Los arqueros oscuros
a Sevilla se acercan.
Guadalquivir abierto.
Anchos sombreros grises,
largas capas lentas.
/Ay, Guadalquivir !
Vienen de los remotos
paises de la pena.
Guadalquivir abierto.
Y van a un laberinto.
Amor, cristal y piedra.
/Ay, Guadalquivir!
Noche
Cirio, candil,
farol y luciernaga.
La constelacion
de la saeta.
Ventanitas de oro
tiemblan,
y en la aurora se mecen
cruces superpuestas.
Poem of the Cante Jondo
and dawn bells
in Granada!
Bowmen
The dark bowmen
close in on Seville.
Spreading Guadalquivir*
Grey broad-brimmed hats,
long slow capes.
Ay, Guadalquivir!
They come from far
countries of pain.
Spreading Guadalquivir.
And head for a labyrinth.
Love, glass, stone.
Ay, Guadalquivir!
Night
Lamp, candle,
firefly, lantern.
The saeta ’ s
constellation.
Little windows of gold
tremble,
and in the dawn the sway
of cross upon cross.
Poema del Cante Jondo
Cirio, candil,
farol y luciernaga.
Sevilla
Sevilla es una torre
llena de arqueros finos.
Sevilla para herir.
Cordoba para morir.
Una ciudad que acecha
largos ritmos.
y los enrosca
como laberintos.
Como tallos de parra
encendidos.
/ Sevilla para herir!
Bajo el arco del cielo,
sobre su llano limpio,
dispara la constante
saeta de su rio.
/ Cordoba para morir!
Y loca de horizonte,
mezcla en su vino
lo amargo de Don Juan
y lo perfecto de Dionisio.
Sevilla para herir.
jSiempre Sevilla para herir!
Poem of the Cante Jondo
Lamp, candle,
firefly, lantern.
Seville
Seville is a tower
full of fine bowmen.
Seville for wounds
Cordoba for death.
A city that snares
slow rhythms
and twists them
like labyrinths
like vine-shoots,
blazing.
Seville for wounds!
Beneath the sky’s arc,
over its clean plain,
the constant saeta
dart of the river.
Cordoba for death!
Mad with horizon,
it mixes in its wine
Don Juan’s bitterness
and the perfection of Dionysus.
Seville for wounds!
Always Seville for wounds!
7 o
Poema del Cante Jondo
Procesion
Por la calleja vienen
extranos unicornios.
;Dc que campo,
de que bosque mitologico?
Mas cerca,
ya parecen astronomos.
Fantasticos Merlines
y el Ecce Homo,
Durandarte encantado,
Orlando furioso.
Paso
Virgen con mirinaque,
Virgen de la Soledad,
abierta como un inmenso
tulipan.
En tu barco de luces
vas
por la alta marea
de la ciudad,
entre saetas turbias
y estrellas de cristal.
Virgen con mirinaque,
tu vas
por el rio de la calle,
jhasta el mar!
Saeta
Cristo moreno
pasa
de brio de Judea
a clavel de Espana.
Poem of the Cante Jondo
7i
Procession
Down alleyways
come strange unicorns.
From what field
what mythic wood?
Closer to
they seem like astronomers.
Fantastic Merlins,*
the Ecce Flomo,*
enchanted Durandarte,*
Orlando furioso.*
Float, Holy Week
Virgin with crinoline.
Virgin of Solitude,
open like a gigantic
tulip.
In your boat of lights
you move
on the high tide
of the city
among smoky saetas
and stars of glass.
Virgin with crinoline,
you move
down the river of the street
and out to the sea!
Saeta
Dark Christ
passes
from lily of Judaea
to carnation of Spain.
72
Poema del Cante Jondo
jMiradlo por donde viene!
De Espana.
Cielo limpio y oscuro,
tierra tostada,
y cauces donde corre
muy lenta el agua.
Cristo moreno,
con las guedejas quemadas,
los pomulos salientes
y las pupilas blancas.
jMiradlo por donde va!
Balcon
La Lola
canta saetas.
Los toreritos
la rodean,
y el barberillo,
desde su puerta,
sigue los ritmos
con la cabeza.
Entre la albahaca
y la hierbabuena,
la Lola canta
saetas.
La Lola aquella,
que se miraba
tanto en la alberca.
Madrugada
Pero como el amor
los saeteros
estan ciegos.
Poem of the Cante Jondo
See where he comes!*
73
Of Spain.
Clean dark sky,
Sun-browned earth,
and riverbeds whose water
creeps by.
Dark Christ,
scorched locks of hair
high cheekbones
and white pupils.
See where he goes!
Balcony
Lola
sings saetas.
Pretend toreros
circle round,
and from his doorway
the little barber
nods his head
in rhythm.
Among the basil
and mint,
Lola sings
saetas.
Lola, she
who gazed at herself
for so long in the pool.
Dawn
But like love’s
arrows, saetas
fly blind.
74
Poema del Cante Jondo
Sobre la noche verde,
las saetas
dejan rastros de lirio
caliente.
La quilla de la luna
rompe nubes moradas
y las aljabas
se llenan de roclo.
jAy, pero como el amor
los saeteros
estan ciegos!
Poem of the Cattle Jondo
Saetas,
burning lily
streaking green night.
The keel of the moon
breaks mulberry clouds
and quivers
fill with dew.
Ay, but like love’s
arrows, saetas
fly blind!
Poemas de Canciones
Nocturnos de la ventana
A la memoria de Jose de Ciriay Escalante. Poeta
Alta va la luna.
Bajo corre el viento.
(Mis largas miradas,
exploran el cielo.)
Luna sobre el agua.
Luna bajo el viento.
(Mis cortas miradas
exploran el suelo.)
Las voces de dos ninas
venian. Sin esfuerzo,
de la luna del agua,
me fui a la del cielo.
2
Un brazo de la noche
entra por mi ventana.
Un gran brazo moreno
con pulseras de agua.
Sobre un cristal azul
jugaba al rio mi alma.
Los instantes heridos
por el reloj . . . pasaban.
From Songs
Nocturnes at the Window
the memory of Jose tie Ciriay Escalante. Poet
The moon rides high.
The wind runs below.
(My sweeping gaze
explores the sky.)
Moon on water.
Moon below the wind.
(My close gaze
explores the ground.)
Two girls’ voices
approached. Easily
I went from the water’s moon
to the moon in the sky.
2
An arm of night
comes through my window.
A great dark arm
wearing bracelets of water.
On blue crystal
my soul played at rivers.
Moments wounded
by the clock... passed by.
Canciones
3
Asomo la cabeza
por mi ventana, y veo
como quiere cortarla
la cuchilla del viento.
En esta guillotina
invisible, yo he puesto
las cabezas sin ojos
de todos mis deseos.
Y un olor de limon
lleno el instante inmenso,
mientras se convertia
en flor de gasa el viento.
4
A1 estanque se le ha muerto
hoy una nina de agua.
Esta fuera del estanque,
sobre el suelo amortajada.
De la cabeza a sus muslos
un pez la cruza, llamandola.
El viento le dice «Nina»,
mas no puede despertarla.
El estanque tiene suelta
su cabellera de algas
y al aire sus grises tetas
estremecidas de ranas.
«Dios te salve» rezaremos
a Nuestra Senora de Agua
por la nina del estanque
muerta bajo las manzanas.
Yo luego pondre a su lado
dos pequenas calabazas
para que se tenga a flote,
jay! sobre la mar salada.
Songs
3
79
I put my head
out of my window and see
how much the wind’s knife
wants to slice it olf.
On this unseen
guillotine. I’ve placed
the eyeless head
of all my desires.
And the lemon scent
filled the immense moment
while the wind became
a bloom of gauze.
4
There today in the pond
a water girl has found death.
Pulled from the pond,
she’s laid out in a shroud.
From her head to her thighs
a fish crosses, calling her name.
The wind says ‘child’,
but can’t wake her.
The pond has shaken out
her seaweed hair,
her grey bared teats
trembling with frogs.
God keep you. We’ll pray
to Our Lady of Water
for the girl in the pond
under the apples, dead.
Later I’ll place two small gourds
beside her so she may float
on the salt sea.
Ay!
8o
Canciones
Cancion tonta
Mama.
Yo quiero ser de plata.
Hijo,
tendras mucho frio.
Mama.
Yo quiero ser de agua.
Hijo,
tendras mucho frio.
Mama.
Bordame en tu almohada.
jEso si!
jAhora mismo!
Cancion de jinete
Cordoba.
Lejana y sola.
Jaca negra, luna grande,
y aceitunas en mi alforja.
Aunque sepa los caminos
yo nunca llegare a Cordoba.
Por el llano, por el viento,
jaca negra, luna roja.
La muerte me esta mirando
desde las torres de Cordoba.
jAy, que camino tan largo!
jAy, mi jaca valerosa!
Songs
Foolish Song
Mama,
I want to turn into silver.
Son,
you’d freeze.
Mama,
I want to turn into water.
Son,
you’d freeze.
Mama,
sew me into your pillow.
This time yes,
and straightaway!
Horseman’s Song
Cordoba,
alone and far.
Black pony, large moon,
olives in my saddlebag.
Though I know the way
I’ll never get to Cordoba.
Through the wind, across the plain,
black pony, red moon.
Death is watching me
from the towers of Cordoba.
Such a long road!
My valiant mount!
Canciones
jAy, que la muerte me espera,
antes de llegar a Cordoba!
Cordoba.
Lejana y sola.
jEs verdad!
jAy, que trabajo me cuesta
quererte como te quiero!
Por tu amor me duele el aire,
el corazon
y el sombrero.
iQuien me comprarla a ml,
este cintillo que tengo
y esta tristeza de hilo
bianco, para hacer panuelos?
jAy que trabajo me cuesta
quererte como te quiero!
Verlaine
La cancion,
que nunca dire,
se ha dormido en mis labios.
La cancion,
que nunca dire.
Sobre las madreselvas
habia una luciernaga,
y la luna picaba
con un rayo en el agua.
Entonces yo sone,
la cancion,
que nunca dire.
§3
Songs
Death awaits me
before I get to Cordoba!
Cordoba,
alone and far.
It’s true!
What it costs me
to love you as I do!
Air hurts me,
heart,
hat,
loving you.
Who’ll buy my hatband,
this sadness of white thread,
and turn them into handkerchiefs?
What it costs me
to love you as I do!
Verlaine
The song
I’ll never sing
fell silent on my lips.
The song
I’ll never sing.
A firefly
was on the honeysuckle
and a moonbeam
stabbed the water.
So then I dreamt
the song
I’ll never sing.
Canciones
Cancion llena de labios
y de cauces lejanos.
Cancion llena de horas
perdidas en la sombra.
Cancion de estrella viva
sobre un perpetuo dia.
Baco
Verde rumor intacto.
La higuera me tiende sus brazos.
Como una pantera, su sombra,
acecha mi lirica sombra.
La luna cuenta los perros.
Se equivoca y empieza de nuevo.
Ayer, manana, negro y verde,
rondas mi cerco de laureles.
iQuien te querria como yo,
si me cambiaras el corazon?
... Y la higuera me grita y avanza
terrible y multiplicada.
Juan Ramon Jimenez
En el bianco infinito,
nieve, nardo y salina,
perdio su fantasia.
El color bianco, anda,
sobre una muda alfombra
de plumas de paloma.
85
Songs
Song filled with lips,
welling up from afar.
Song filled with hours
counted olf in the shade.
Song of the star alive
above perpetual day.
Bacchus
Green murmur, intact.
The fig tree spreads out its arms to me.
Like a panther, it shadows
my lyrical shadow.
The moon counts dogs,
gets lost and starts again.
Yesterday, tomorrow, black and green,
you circle my laurel wreath.
If only you changed my heart,
I’d love you like nobody else.
. . . The fig tree shouts at me, advancing,
fearsome multiplicity.
Juan Ramon Jimenez
In the infinite white,
snow, salt-flat, spikenard,
his imagination went.
On then, colour white,
across a soundless carpet
of pigeon feathers.
86
Canciones
Sin ojos ni ademan
inmovil sufre un sueno.
Pero tiembla por dentro.
En el bianco infinito,
jque pura y larga herida
dejo su fantasia!
En el bianco infinito.
Nieve. Nardo. Salina.
Venus
Asi te vi
La joven muerta
en la concha de la cama,
desnuda de flor y brisa
surgia en la luz perenne.
Quedaba el mundo,
lirio de algodon y sombra,
asomado a los cristales
viendo el transito infinito.
La joven muerta,
surcaba el amor por dentro.
Entre la espuma de las sabanas
se perdia su cabellera.
Debussy
Mi sombra va silenciosa
por el agua de la acequia.
Por mi sombra estan las ranas
privadas de las estrellas.
La sombra manda a mi cuerpo
reflejos de cosas quietas.
87
Songs
No eyes, no gesture, motionless,
a dream plagues him.
But inside he trembles.
In the infinite white,
the pure white wound
his imagination left!
In the infinite white.
Snow. Salt-flat. Spikenard.
Venus
I saw you thus
The young woman, dead,
in the shell of the bed,
stripped of breeze and flowers
rose into undimmed light.
The world remained,
a lily of cotton and shade,
through window panes
watching the infinite transit.
The young woman, dead,
proffered love from within.
Her hair vanished
in the foam of sheets.
Debussy
My shadow moves silently
down the coursing water.
My shadow deprives the frogs
of stars.
The shadow sends my body
reflections of still things.
Canciones
Mi sombra va como inmenso
cinife color violeta.
Cien grillos quieren dorar
la luz de la canavera.
Una luz nace en mi pecho,
reflejado, de la acequia.
Narciso
Nino.
jQue te vas a caer al rio!
En lo hondo hay una rosa
y en la rosa hay otro rio.
jMira aquel pajaro! jMira
aquel pajaro amarillo!
Se me han caido los ojos
dentro del agua.
jDios mio!
jQue se resbala! jMuchacho!
... y en la rosa estoy yo mismo.
Cuando se perdio en el agua,
comprendi. Pero no explico.
Al oido de una muchacha
No quise.
No quise decirte nada.
Vi en tus ojos
dos arbolitos locos.
De brisa, de risa y de oro.
8 9
Songs
My shadow moves like a huge
violet gnat.
A hundred crickets try to gild
the light of the reeds.
A new glow in my breast,
reflected from the water.
Narcissus
Child!
You’ll fall in the river!
In the depths there’s a rose
and in the rose another river.
See that bird! Look
at that yellow bird!
My eyes have disappeared
into the water.
Oh!
He’s slipping! Little boy!
. . . and I myself am in the rose.
When he was lost in the water
I understood. But I shan’t explain.
In a Girl’s Ear
I didn’t want to.
I didn’t want to tell you a thing.
In your eyes I saw
two mad little trees.
Of air, of laughter, of gold.
go
Canciones
Se meneaban.
No quise.
No quise decirte nada.
La luna asoma
Cuando sale la luna
se pierden las campanas
y aparecen las sendas
impenetrables.
Cuando sale la luna,
el mar cubre la tierra
y el corazon se siente
isla en el infinito.
Nadie come naranjas
bajo la luna llena.
Es preciso comer,
fruta verde y helada.
Cuando sale la luna
de cien rostros iguales,
la moneda de plata
solloza en el bolsillo.
Murio al amanecer
Noche de cuatro lunas
y un solo arbol,
con una sola sombra
y un solo pajaro.
Busco en mi carne las
huellas de tus labios.
El manantial besa al viento
sin tocarlo.
Songs 91
They swayed.
I didn’t want to.
I didn’t want to tell you a thing.
The Moon Appears
When the moon rises
bells are lost
and impenetrable
paths appear.
When the moon rises,
sea covers land
and the heart feels like
an island in infinity.
No one eats oranges
beneath a full moon.
Ice-cold green fruit
is right.
When the moon rises,
with the same hundred faces,
silver coins
sob in purses.
He Died at Dawn
Night of four moons
and a single tree
with a single shadow
and a single bird.
I search my flesh for the
mark of your lips.
The fountain kisses the wind
without touching it.
Canciones
Llevo el No que me diste,
en la palma de la mano,
como un limon de cera
casi bianco.
Noche de cuatro lunas
y un solo arbol.
En la punta de una aguja,
esta mi amor jgirando!
Primer aniversario
La nina va por mi frente.
jOh, que antiguo sentimiento!
d'De que me sirve, pregunto,
la tinta, el papel y el verso?
Carne tuya me parece,
rojo brio, junco fresco.
Morena de luna llena.
iQue quieres de mi deseo?
Segundo aniversario
La luna clava en el mar
un largo cuerno de luz.
Unicornio gris y verde,
estremecido pero extatico.
El cielo flota sobre el aire
como una inmensa flor de loto.
(jOh, tu sola paseando
la ultima estancia de la noche!)
93
Songs
The No you told me I bear
in the palm of my hand
like an olf-white
wax lemon.
Night of four moons
and a single tree.
On the point of a needle
there’s my love
spinning!
First Anniversary
The girl passes across my brow.
Ancient, ancient feeling!
What use to me, I ask,
are paper, verse, ink?
To me your flesh is
red lily, cool reed.
Dark girl of the full moon.
What do you want of my desire?
Second Anniversary
The moon nails to the sea
a large horn of light.
Green and grey unicorn,
shuddering yet ecstatic.
Sky floating on the air
like an enormous lotus flower.
(You alone patrolling
the last station of night!)
Canciones
Lucia Martinez
Lucia Martinez.
Umbria de seda roja.
Tus muslos como la tarde
van de la luz a la sombra.
Los azabaches reconditos
oscurecen tus magnolias.
Aqui estoy, Lucia Martinez.
Vengo a consumir tu boca
y arrastrarte del cabello
en madrugada de conchas.
Porque quiero, y porque puedo.
Umbria de seda roja.
La soltera en misa
Bajo el moises del incienso,
adormecida.
Ojos de toro te miraban.
Tu rosario llovia.
Con ese traje de profunda seda,
no te muevas, Virginia.
Da los negros melones de tus pechos
al rumor de la misa.
Malestar y noche
Abejaruco.
En tus arboles oscuros.
Noche de cielo balbuciente
y aire tartamudo.
Songs
95
Lucia Martinez
Lucia Martinez.
Shadow of red silk.
Your thighs like evening
move from light to shade.
Hidden jet darkens
your magnolias.
I am here, Lucia Martinez,
here to consume your mouth
and drag you by the hair
into the seashell dawn.
Because I want to, because I can.
Red silk shadow.
The Spinster at Mass
Beneath the cradle of incense,
asleep.
Eyes of bulls watched you.
Your rosary rained.
In that dress of deep silk,
Virginia, do not move.
Offer your dark melon breasts
to the murmur of the Mass.
Malaise and Night
Bee-eater
in your dark trees.
Night of babbling sky
and stuttering air.
96
Canciones
Tres borrachos eternizan
sus gestos de vino y luto.
Los astros de plomo giran
sobre un pie.
Abejaruco.
En tus arboles oscuros.
Dolor de sien oprimida
con guirnalda de minutos.
i'Y tu silencio? Los tres
borrachos can tan desnudos.
Pespunte de seda virgen
tu cancion.
Abejaruco.
Uco uco uco uco.
Abejaruco.
Desposorio
Tirad ese anillo
al agua.
(La sombra apoya sus dedos
sobre mi espalda.)
Tirad ese anillo. Tengo
mas de cien anos. j Silencio!
jNo preguntadme nada!
Tirad ese anillo
al agua.
97
Songs
Three drunks perpetuate
their movements of wine and sorrow.
Leaden astral bodies spin
on one foot.
Bee-eater
in your dark trees.
Aching temple clamped
by a garland of minutes.
And your silence? The three nude
drunks sing.
Back-stitch of pure silk,
your song.
Bee-eater
Ooco, ooco, ooco, ooco.
Bee-eater.
Betrothal
Throw this ring
to the water.
(The shade places fingers
on my back.)
Throw this ring. I am
more than a hundred years old. Quiet!
Ask me nothing!
Throw this ring
to the water.
Canciones
Despedida
Si muero,
dejad el balcon abierto.
El nino come naranjas.
(Desde mi balcon lo veo.)
El segador siega el trigo.
(Desde mi balcon lo siento.)
jSi muero,
dejad el balcon abierto!
En el instituto y en la universidad
La primera vez
no te conod.
La segunda, si.
Dime
si el aire te lo dice.
Mananita fria
yo me puse triste,
y luego me entraron
ganas de reirme.
No te conod.
Si me conociste.
Si te conod.
No me conociste.
Ahora entre los dos
se alarga impasible,
un mes, como un
biombo de dias grises.
Songs
99
Parting
If I die
leave the balcony open.
The boy eats oranges.
(From my balcony I see him.)
The reaper cuts the wheat.
(From my balcony I hear him.)
If I die,
leave the balcony open!
In the Institute and in the University
The first time
I didn’t know you.
The second time I did.
Tell me
if the air tells you so.
One sharp morning
I grew sad
and was seized
by the impulse to laugh.
I didn’t know you.
But you knew me.
Yes I knew you.
You didn’t know me.
Now a month stretches
between us two,
no feeling,
like a screen of grey days.
100
Canciones
La primera vez
no te conod.
La segunda, si.
Madrigalillo
Cuatro granados
tiene tu huerto.
(Toma mi corazon
nuevo.)
Cuatro cipreses
tendra tu huerto.
(Toma mi corazon
viejo.)
Sol y luna.
Luego...
jni corazon,
ni huerto!
Preludio
Las alamedas se van,
pero dejan su reflejo.
Las alamedas se van,
pero nos dejan el viento.
El viento esta amortajado
a lo largo bajo el cielo.
Pero ha dejado flotando
sobre los rios, sus ecos.
El mundo de las luciernagas
ha invadido mis recuerdos.
IOI
Songs
The first time
I didn’t know you.
The second time I did.
Light Madrigal
Four pomegranate trees
in your orchard.
(Take my new
heart.)
There’ll be four cypress trees
in your orchard.
(Take my old
heart.)
Sun and moon.
Then, afterwards . . .
Neither heart
nor orchard!
Prelude
The avenues of poplar go
but leave their reflection.
The avenues of poplar go
but leave us the wind.
The shrouded wind lies
full length beneath the sky.
But it’s left its echoes
floating on rivers.
The world of fireflies
has invaded my memories.
102
Canciones
Y un corazon diminuto
me va brotando en los dedos.
De otro modo
La hoguera pone al campo de la tarde,
unas astas de ciervo enfurecido.
Todo el valle se tiende; por sus lomos,
caracolea el vientecillo.
El aire cristaliza bajo el humo.
Ojo de gato triste y amarillo.
Yo en mis ojos paseo por las ramas.
Las ramas se pasean por el rio.
Llegan mis cosas esenciales.
Son estribillos de estribillos.
Entre los juncos y la baja-tarde,
jque raro que me llame Federico!
Cancion de noviembre y abril
El cielo nublado
pone mis ojos blancos.
Yo, para darles vida,
les acerco una flor
amarilla.
No consigo turbarlos.
Siguen yertos y blancos.
(Entre mis hombros vuela
mi alma dorada y plena.)
El cielo de abril
pone mis ojos de anil.
103
Songs
And a tiny, tiny heart
is growing from my fingers.
Another Way
On the evening land the bonfire lays
the antlers of a maddened stag.
The valley spreads out. A gambolling breeze
skips among its folds.
Air crystallizes under the smoke.
— sad yellow cat’s eye —
Inside my eyes I drift among the branches.
The branches drift down river.
Things vital to me appear.
Refrains of refrains.
Among the reeds and the falling day,
how strange my name should be Federico!
Song of November and April
The cloudy sky
blanks out my eyes.
To restore them, I
place a yellow flower
next to them.
I can’t change them.
They remain lifeless, blank.
(Between my shoulders
my full and golden soul takes wing.)
The April sky
turns my eyes indigo.
Canciones
Yo, para darles alma,
les acerco una rosa
blanca.
No consigo infundir
lo bianco en el anil.
(Entre mis hombros vuela
mi alma impasible y ciega.)
Cancion del naranjo seco
A Carmen Morales
Lenador.
Cortame la sombra.
Librame del suplicio
de verme sin toronjas.
;Por que naci entre espejosP
El dia me da vueltas.
Y la noche me copia
en todas sus estrellas.
Quiero vivir sin verme.
Y hormigas y vilanos,
sonare que son
mis hojas y mis pajaros.
Lenador.
Cortame la sombra.
Librame del suplicio
de verme sin toronjas.
io5
Songs
To give them a soul, I
place a white rose
next to them.
I can’t make white
blend with indigo.
(Between my shoulders
my blind and stony soul takes wing.)
Song of the Dry Orange Tree
To Carmen Morales
Woodsman,
chop down my shadow.
Free me from the torture
of not bearing fruit.
Why was I born among mirrors?
Around me day dances
and night copies me
onto her stars.
I want to live blind to myself.
And I’ll dream
that ants and burrs
are my leaves and my birds.
Woodsman,
chop down my shadow.
Free me from the torture
of not bearing fruit.
Poemas de Romancero gitano
Romance de la luna, luna
A Conchita Garcia Lorca
La luna vino a la fragua
con su polison de nardos.
El niflo la mira, mira.
El niflo la esta mirando.
En el aire conmovido
mueve la luna sus brazos
y ensefta, lubrica y pura,
sus senos de duro estafto.
— Huye luna, luna, luna.
Si vinieran los gitanos,
harian con tu corazon
collares y anillos blancos.
— Niflo, dejame que bade.
Cuando vengan los gitanos,
te encontraran sobre el yunque
con los ojillos cerrados.
— Huye luna, luna, luna,
que ya siento sus caballos.
— Niflo, dejame, no pises
mi blancor almidonado.
El jinete se acercaba
tocando el tambor del llano.
Dentro de la fragua el niflo
tiene los ojos cerrados.
Por el olivar venian,
bronce y suefto, los gitanos.
Las cabezas levantadas
y los ojos entornados.
Como canta la zumaya,
jay, como canta en el arbol!
From Gypsy Ballads
Ballad of the Moon, the Moon
To Conchita Garda Lorca
The moon came to the forge
wearing her bustle of bulbs.
The boy’s looking at her,
looking and looking.
In the disturbed air
the moon moves her arms,
and lewd and pure, lifts
her hard metallic breasts.
Run, moon, moon, moon.
If the gypsies come,
they’ll make necklaces, white rings
out of your heart.
Child, let me dance.
If the gypsies come
they’ll find you on the anvil,*
your bright eyes closed.
Run, moon, moon, moon,
I hear their horses now.
Leave me, child, don’t trample
my starched whiteness.
The horseman came nearer
drumming across the plain.
Inside the forge the child’s
eyes are tight shut.
Through the olive-grove they came,
gypsies, bronze and sleep.
Heads high,
their eyes behind their lids.
How the barn-owl* sings,
how it sings in the tree!
Romancero gitano
Por el cielo va la luna
con un nino de la mano.
Dentro de la fragua lloran,
dando gritos, los gitanos.
El aire la vela, vela.
El aire la esta velando.
Romance sonambulo
A Gloria Ginery a Fernando de los Rios
Verde que te quiero verde.
Verde viento. Verdes ramas.
El barco sobre la mar
y el caballo en la montana.
Con la sombra en la cintura,
ella suena en su baranda,
verde carne, pelo verde,
con ojos de fria plata.
Verde que te quiero verde.
Bajo la luna gitana,
las cosas la estan mirando
y ella no puede mirarlas.
*
Verde que te quiero verde.
Grandes estrellas de escarcha
vienen con el pez de sombra
que abre el camino del alba.
La higuera frota su viento
con la lija de sus ramas,
y el monte, gato garduno,
eriza sus pitas agrias.
Pero ;quien vendra? ;Y por donde?...
Ella sigue en su baranda,
verde carne, pelo verde,
sonando en la mar amarga.
Gypsy Ballads
The moon goes through the sky
holding a child’s hand.
Inside the forge the shouting
gypsies weep.
The air maintains its watch,
watching, watching.
Dreamwalker Ballad
To Gloria Giner and Fernando de los Rios
Green how I want you green.
Green wind. Green branches.
Boat on the sea
and horse on the mountain.
Shadow at her waist
she dreams at her railing,
green flesh, green hair,
and eyes of cold silver.
Green how I want you green.
Beneath the gypsy moon
things are watching her
and she can’t watch them.
*
Green how I want you green.
Great stars of frost,
arriving with the shadow-fish
that clears the way for dawn.
The fig-tree sandpapers
its wind on its branches,
and the mountain, like a thieving cat,
arches its back of sour agaves.
But who will come? And from where?.
She stays at the railing,
green flesh, green hair,
dreaming of the bitter sea.
no Romancero gitano
*
— Compadre, quiero cambiar
mi caballo por su casa,
mi montura por su espejo,
mi cuchillo por su manta.
Compadre, vengo sangrando,
desde los puertos de Cabra.
— Si yo pudiera, mocito,
este trato se cerraba.
Pero yo ya no soy yo,
ni mi casa es ya mi casa.
— Compadre, quiero morir
decentemente en mi cama.
De acero, si puede ser,
con las sabanas de holanda.
;No ves la herida que tengo
desde el pecho a la garganta?
— Trescientas rosas morenas
lleva tu pechera blanca.
Tu sangre rezuma y huele
alrededor de tu faja.
Pero yo ya no soy yo,
ni mi casa es ya mi casa.
— Dejadme subir al menos
hasta las altas barandas,
jdejadme subir!, dejadme
hasta las verdes barandas.
Barandales de la luna
por donde retumba el agua.
*
Ya suben los dos compadres
hacia las altas barandas.
Dejando un rastro de sangre.
Dejando un rastro de lagrimas.
Temblaban en los tejados
farolillos de hojalata.
Mil panderos de cristal
herian la madrugada.
Ill
Gypsy Ballads
*
‘Friend, I wish to trade
my horse for your house,
my saddle for your mirror,
my knife for your blanket.
Friend, I come bleeding
from the Cabra Pass.’
‘If I could, young man.
I’d make you a deal.
But I’m not me any more,
my house is not my house.’
‘Friend, I want to die
tucked up in my bed:
a steel bed, if possible,
with the finest linen sheets.
Don’t you see this wound
from my chest to my throat?’
‘Your white shirt sports
three hundred dark roses.
Your blood smells strong
oozing all around your sash.
But I’m not me any more,
my house is not my house.’
‘At least let me climb
to the high railing,
let me climb, please,
up to the green rails!
Balustrades of the moon
where the water roars.’
*
And so the two friends climb
up to the high balustrade.
Leaving a trail of blood.
Leaving a trail of tears.
Little tin lanterns
trembled on the tiles.
A thousand crystal tambourines
wounded the dawning day.
1 12 Romancero gitano
*
Verde que te quiero verde,
verde viento, verdes ramas.
Los dos compadres subieron.
El largo viento, dejaba
en la boca un raro gusto
de hiel, de menta y de albahaca.
— jCompadre! ;D 6 nde esta, dime,
donde, esta tu nina amarga?
— jCuan tas veces te espero!
jCuantas veces te esperara,
cara fresca, negro pelo,
en esta verde baranda!
*
Sobre el rostro del aljibe
se mecia la gitana.
Verde carne, pelo verde,
con ojos de fria plata.
Un carambano de luna
la sostiene sobre el agua.
La noche se puso intima
como una pequena plaza.
Guardias civiles borrachos
en la puerta golpeaban.
Verde que te quiero verde.
Verde viento. Verdes ramas.
El barco sobre la mar.
Y el caballo en la montana.
La monja gitana
A Jose Moreno Villa
Silencio de cal y mirto.
Malvas en las hierbas finas.
La monja borda alhelies
sobre una tela pajiza.
Vuelan en la arana gris
Gypsy Ballads 113
*
Green how I want you green,
green wind, green branches.
The two friends climbed.
The long wind left
a strange taste in the mouth
of gall, mint, and basil.
‘Friend, tell me, where is she,
where’s your bitter girl?’
‘The times she waited for you!
How often she would wait,
bright face, dark hair,
at this green railing!’
*
On the rain- well’s face
the gypsy girl swayed.
Green flesh, green hair,
and eyes of cold silver.
An icicle of moonlight
holds her over the water.
The night became intimate
as a small town square.
Drunken Civil Guards*
beat at the door.
Green how I want you green.
Green wind. Green branches.
Boat on the sea.
And horse on the mountain.
The Gypsy Nun
To Jose Moreno Villa
Silence of myrtle and lime.
Wild mallow in fine grass.
The nun embroiders wallflowers
on a straw-coloured cloth.
The seven birds of the prism flit
Romancero gitano
siete pajaros del prisma.
La iglesia grune a lo lejos
como un oso panza arriba.
jQue bien borda! jCon que gracia!
Sobre la tela pajiza,
ella quisiera bordar
flores de su fantasia.
jQue girasol! jQue magnolia
de lentejuelas y cintas!
jQue azafranes y que lunas,
en el mantel de la misa!
Cinco toronjas se endulzan
en la cercana cocina.
Las cinco llagas de Cristo
cortadas en Almeria.
Por los ojos de la monja
galopan dos caballistas.
Un rumor ultimo y sordo
le despega la camisa,
y al mirar nubes y montes
en las yertas lejanias,
se quiebra su corazon
de azucar y yerbaluisa.
jOh, que llanura empinada
con veinte soles arriba!
jQue rios puestos de pie
vislumbra su fantasia!
Pero sigue con sus flores,
mientras que de pie, en la brisa,
la luz juega el ajedrez
alto de la celosia.
Gypsy Ballads 1 1 5
amongst the greyness of the chandelier.
The church growls in the distance
like a stricken bear.
How well she embroiders,
such finesse!
On the straw-yellow cloth
she’d like to embroider
flowers of her imagining.
What a sunflower! What a magnolia
of spangles and ribbons!
Such crocuses, such moons
on the altar cloth!
Five grapefruit sweeten
in the kitchen nearby.
Five nasturtiums,
the five wounds of Christ,*
cut in Almeria.
Through the eyes of the nuns
two horsemen gallop.
A muffled far-off sound
lifts her petticoat,
and looking at the clouds and hills
in the distant wasteland,
her sugar and verbena heart breaks.
What an exalted plain
with twenty suns above!
What vertical rivers
her fantasy glimpses!
But she goes on with her flowers
while in the breeze
the tall light plays chess
with the window blinds.
1 1 6
Romancero gitano
Prendimiento de Antonito el Camborio
en el camino de Sevilla
A Margarita Xirgu
Antonio Torres Heredia,
hijo y nieto de Camborios,
con una vara de mimbre
va a Sevilla a ver los toros.
Moreno de verde luna,
anda despacio y garboso.
Sus empavonados bucks
le brillan entre los ojos.
A la mitad del camino
corto limones redondos,
y los fue tirando al agua
hasta que la puso de oro.
Y a la mitad del camino,
bajo las ramas de un olmo,
Guardia Civil caminera
lo llevo codo con codo.
*
El dia se va despacio,
la tarde colgada a un hombro,
dando una larga torera
sobre el mar y los arroyos.
Las aceitunas aguardan
la noche de Capricornio,
y una corta brisa ecuestre
salta los montes de plomo.
Antonio Torres Heredia,
hijo y nieto de Camborios,
viene sin vara de mimbre
entre los cinco tricornios.
*
— Antonio, ;quien eres tu?
Si te llamaras Camborio,
hubieras hecho una fuente
Gypsy Ballads
Capture of Antonito el Camborio
on the Seville Road
To Margarita Xirgu
Antonio Torres Heredia,
son and grandson of Camborios,
holding a willow-switch
is going to Seville to see the bulls.
Dark as a green moon
he walks. Unhurried. With style.
His curls’ peacock sheen
glints between his eyes.
Midway through his journey
he cut some round lemons
and threw them one by one in the water
until it turned gold.
And midway through his journey
under the spread of an elm
a patrol of Civil Guard
grabbed him by the arm and led him off.
*
The day goes past slowly,
afternoon fastened at the shoulder,
a bullfighter’s cape
passing over sea and rivulets.
The olives await
the Capricorn night,
and a snappy breeze jumps
the leaden hills like a horse.
Antonio Torres Heredia,
son and grandson of Camborios,
walks without his willow-switch
between the five three-cornered hats.
*
‘Antonio, who are you?
Had your name been Camborio
you’d have made a fountain
Romancero gitano
de sangre con cinco chorros.
Ni tu eres hijo de nadie,
ni legitimo Camborio.
jSe acabaron los gitanos
que iban por el monte solos!
Estan los viejos cuchillos
tiritando bajo el polvo.
*
A las nueve de la noche
lo llevan al calabozo,
mientras los guardias civiles
beben limonada todos.
Y a las nueve de la noche
le cierran el calabozo,
mientras el cielo reluce
como la grupa de un potro.
Muerte de Antonito el Camborio
A Jose Antonio Rubio Sacristan
Voces de muerte sonaron
cerca del Guadalquivir.
Voces antiguas que cercan
voz de clavel varonil.
Les clavo sobre las botas
mordiscos de jabali.
En la lucha daba saltos
jabonados de delfin.
Bano con sangre enemiga
su corbata carmesi,
pero eran cuatro punales
y tuvo que sucumbir.
Cuando las estrellas clavan
rejones al agua gris,
cuando los erales suenan
veronicas de alheli,
voces de muerte sonaron
cerca del Guadalquivir.
Gypsy Ballads 1 19
of blood with five jets.
But you’re the son of no one,
no true Camborio.
The gypsies have gone
who travelled the mountain alone.
Old knives shiver
beneath the dust.’
*
At nine in the evening
he’s taken to a cell
while all the Civil Guards
drink lemonade.
And at nine in the evening
they lock his cell door,
while the sky gleams
like the flanks of a colt.
Death of Antonito el Camborio
To Jose Antonio Rubio Sacristan
Voices of death sounded
by the Guadalquivir.
Ancient voices encircling
a virile carnation voice.
His boar’s teeth
clamped themselves to their boots.
In the fight his leaps
were slippery as dolphins.
He soaked his crimson tie
in his enemy’s blood
but there were four daggers
and he had to succumb.
When stars force lances
into grey water,
when novice bulls dream
of passes like wallflowers,
voices of death sounded
by the Guadalquivir.
120 Romancero gitano
*
— Antonio Torres Heredia,
Camborio de dura crin,
moreno de verde luna,
voz de clavel varonil:
;quien te ha quitado la vida
cerca del Guadalquivir?
— Mis cuatro primos Heredias,
hijos de Benameji.
Lo que en otros no envidiaban,
ya lo envidiaban en mi.
Zapatos color corinto,
medallones de marfil,
y este cutis amasado
con aceituna y jazmin.
— jAy Antonio el Camborio
digno de una Emperatriz!
Acuerdate de la Virgen
porque te vas a morir.
— jAy Federico Garcia,
llama a la Guardia Civil!
Ya mi talle se ha quebrado
como cana de maiz.
*
Tres golpes de sangre tuvo,
y se murio de perfil.
Viva moneda que nunca
se volvera a repetir.
Un angel marchoso pone
su cabeza en un cojin.
Otros de rubor cansado,
encendieron un candil.
Y cuando los cuatro primos
llegan a Benameji,
voces de muerte cesaron
cerca del Guadalquivir.
1 2 1
Gypsy Ballads
*
‘Antonio Torres Heredia,
tough-haired Camborio
dark as a green moon,
virile carnation voice.
Who’s taken your life away
by the Guadalquivir?’
‘My four Heredia cousins,
sons of Benameji.
What they envied in no one
they envied in me.
My wine-coloured shoes,
my ivory medallions,
and my skin massaged
with olive and jasmine.’
‘Oh, Antonio el Camborio,
worthy of an Empress!
Think of the Virgin
because you’re going to die.’
‘Oh, Federico Garcia
call the Civil Guard!
My waist has snapped
like a stalk of maize.’
*
Three spurts of blood
and he died in profile.
A living coin which never
will be struck again.
A jaunty angel
lays his head on a cushion.
Others, weak blushes of colour,
light a lamp.
And when the four cousins
reach Benameji
voices of death went silent
by the Guadalquivir.
122
Romancero gitano
Muerto de amor
A Margarita Manso
— i'Que es aquello que reluce
por los altos corredores?
— Cierra la puerta, hijo mlo,
acaban de dar las once.
— En mis ojos, sin querer,
relumbran cuatro faroles.
— Sera que la gente aquella
estara fregando el cobre.
*
Ajo de agonica plata
la luna menguante, pone
cabelleras amarillas
a las amarillas torres.
La noche llama temblando
al cristal de los balcones
perseguida por los mil
perros que no la conocen,
y un olor de vino y ambar
viene de los corredores.
*
Brisas de cana mojada
y rumor de viejas voces
resonaban por el arco
roto de la media noche.
Bueyes y rosas dormian.
Solo por los corredores
las cuatro luces clamaban
con el furor de San Jorge.
Tristes mujeres del valle
bajaban su sangre de hombre,
tranquila de flor cortada
y amarga de muslo joven.
Viejas mujeres del rio
lloraban al pie del monte.
Gypsy Ballads
Dead from Love
To Margarita Manso
‘What is that gleaming
on the high galleries?’
‘My son, close the door,
eleven has just struck.’
‘Four unwelcome lamps
shine in my eyes.’
‘The people there must be
scouring copperware.’
*
Garlic of dying silver
the waning moon places
heads of yellow hair
on the yellow towers.
Trembling night knocks
on the glass of the balconies
pursued by the thousand
dogs that don’t know her,
and the smell of wine and amber
comes from the galleries.
*
Wet-reed breezes,
murmur of old voices
echoed through the round arch
of midnight.
Oxen and roses were sleeping.
Only four lights clamoured
in the galleries
raging like St George.*
Sad women of the valley
took down the blood of man,
still as a cut flower
and bitter as a young thigh.
Old women of the river
wept at the foot of the mountain.
Romancero gitano
un minuto intransitable
de cabelleras y nombres.
Fachadas de cal poman
cuadrada y blanca la noche.
Serafines y gitanos
tocaban acordeones.
— Madre, cuando yo me muera
que se enteren los senores.
Pon telegramas azules
que vayan del Sur al Norte.
*
Siete gritos, siete sangres,
siete adormideras dobles
quebraron opacas lunas
en los oscuros salones.
Lleno de manos cortadas
y coronitas de flores,
el mar de los juramentos
resonaba, no se donde.
Y el cielo daba portazos
al brusco rumor del bosque,
mientras clamaban las luces
en los altos corredores.
Gypsy Ballads
an impassable minute
of hair and names.
Fa£ades of lime made
the night white and square.
Seraphs and gypsies
played accordions.
‘Mother, when I die,
let the gentlemen know.
Send azure telegrams*
from South to North.’
*
Seven shouts, seven bloods,
seven double poppies
smashed opaque moons
in the darkened rooms.
Full of cut hands
and coronets of flowers,
the sea of oaths
echoed who knows where.
And the sky slammed its door
on the sudden noise of the wood,
while lights clamoured
in the high galleries.
Poemas de Poeta en Nueva York
El rey de Harlem
Con una cuchara
arrancaba los ojos a los cocodrilos
y golpeaba el trasero de los monos.
Con una cuchara.
Fuego de siempre dormla en los pedernales
y los escarabajos borrachos de anls
olvidaban el musgo de las aldeas.
Aquel viejo cubierto de setas
iba al sitio donde lloraban los negros
mientras crujla la cuchara del rey
y llegaban los tanques de agua podrida.
Las rosas hulan por los filos
de las ultimas curvas del aire,
y en los montones de azafran
los ninos machacaban pequenas ardillas
con un rubor de frenesi manchado.
Es preciso cruzar los puentes
y llegar al rumor negro
para que el perfume de pulmon
nos golpee las sienes con su vestido
de caliente pina.
Es preciso matar al rubio vendedor de aguardiente,
a todos los amigos de la manzana y de la arena;
y es necesario dar con los punos cerrados
a las pequenas judias que tiemblan llenas de burbujas,
para que el rey de Harlem cante con su muchedumbre,
para que los cocodrilos duerman en largas filas
bajo el amianto de la luna,
y para que nadie dude la infinita belleza
de los plumeros, los ralladores, los cobres y las cacerolas de las cocinas.
From Poet in New York
The King of Harlem
With a spoon
he scooped out crocodiles’ eyes
and whacked monkeys’ backsides.
With a spoon.
The fire of forever slept in the flints
and beetles drunk on anis
forgot the village moss.
The old mushroom-covered man
went to where the blacks wept
while the king’s spoon crackled
and tanks of putrid water arrived.
Roses fled along the ridge
of air’s last curves
and on the mounds of saffron
children squashed little squirrels
flushing red in tainted frenzy.
You have to cross the bridges
and reach the black murmur
so that the scent of lungs
hits your temples, dressed
in warm pineapple.
You must kill the blond-haired brandy-seller
and every friend of sand and apple
and with clenched fists you must beat
the trembling little Jewish women full of bubbles
so the king of Harlem may sing with his throng,
the crocodiles sleep in long rows
beneath the moon’s asbestos,
and no one doubt the infinite beauty
of dusters, graters, copperware, kitchen pans.
128
Poeta en Nueva York
jAy, Harlem! jAy, Harlem! jAy, Harlem!
No hay angustia comparable a tus rojos oprimidos,
a tu sangre estremecida dentro del eclipse oscuro,
a tu violencia granate, sordomuda en la penumbra,
a tu gran rey prisionero, con un traje de conserje.
*
Tenia la noche una hendidura y quietas salamandras de marfil.
Las muchachas americanas
llevaban ninos y monedas en el vientre
y los muchachos se desmayaban en la cruz del desperezo.
Elios son.
Elios son los que beben el whisky de plata junto a los volcanes
y tragan pedacitos de corazon por las heladas montanas del oso.
*
Aquella noche el rey de Harlem, con una durisima cuchara,
arrancaba los ojos a los cocodrilos
y golpeaba el trasero de los monos.
Con una cuchara.
Los negros lloraban confundidos
entre paraguas y soles de oro,
los mulatos estiraban gomas, ansiosos de llegar al torso bianco,
y el viento empanaba espejos
y quebraba las venas de los bailarines.
Negros, Negros, Negros, Negros,
la sangre no tiene puertas en vuestra noche boca arriba.
No hay rubor. Sangre furiosa por debajo de las pieles.
Viva en la espina del punal y en el pecho de los paisajes,
bajo las pinzas y las retamas de la celeste luna de cancer.
Sangre que busca por mil caminos muertes enharinadas y ceniza
nardo,
cielos yertos, en declive, donde las colonias de planetas
rueden por las playas con los objetos abandonados.
Poet in New York
129
Ay Harlem, Harlem, Harlem!
There’s no anguish like your oppressed reds,
or the shudder of your blood within the dark eclipse,
or your garnet violence, deaf and dumb in the shadows,
or your great king held captive in a commissioner’s coat.
*
The night was rent, and there were silent ivory salamanders.
American girls
carried children and coins in their bellies
and boys fainted racked on the cross.
They.
They who drink silver whisky by volcanoes
and swallow little pieces of heart on the frozen mountains of the bear.
*
That night the king of Harlem with an indestructible spoon
scooped out crocodiles’ eyes
and whacked monkeys’ backsides.
With a spoon.
Blacks wept confounded
among golden suns and umbrellas,
mulattos stretched rubber, keen to get to white torsos,
and the wind clouded mirrors
and broke the dancers’ veins.
Blacks, blacks, blacks, blacks.
Blood has no doors in your night on its back.
No flush. Bad blood beneath the skin,
alert in the dagger’s thorn and the landscapes’ heart,
under the pincers and the Spanish broom of Cancer’s celestial moon.
Blood searching a thousand highways for flour-sprinkled deaths,
spikenard ash,
rigid angled skies where colonies of planets
can roll along beaches with the jetsam.
130
Poeta en Nueva York
Sangre que mira lenta con el rabo del ojo,
hecha de espartos exprimidos, nectares de subterraneos.
Sangre que oxida al alisio descuidado en una huella
y disuelve a las mariposas en los cristales de la ventana.
Es la sangre que viene, que vendra
por los tejados y azoteas, por todas partes,
para quemar la clorofilia de las mujeres rubias,
para gemir al pie de las camas, ante el insomnio de los lavabos,
y estrellarse en una aurora de tabaco y bajo amarillo.
jHay que huir!,
huir por las esquinas y encerrarse en los ultimos pisos,
porque el tuetano del bosque penetrara por las rendijas
para dejar en vuestra carne una leve huella de eclipse
y una falsa tristeza de guante destenido y rosa quimica.
*
Es por el silencio sapientisimo
cuando los camareros y los cocineros y los que limpian con la lengua
las heridas de los millonarios
buscan al rey por las calles o en los angulos del salitre.
Un viento sur de madera, oblicuo en el negro fango,
escupe a las barcas rotas y se clava puntillas en los hombros.
Un viento sur que lleva
colmillos, girasoles, alfabetos
y una pila de Volta con avispas ahogadas.
El olvido estaba expresado por tres gotas de tinta sobre el monoculo.
El amor, por un solo rostro invisible a flor de piedra.
Medulas y corolas componian sobre las nubes
un desierto de tallos, sin una sola rosa.
*
A la izquierda, a la derecha, por el Sur y por el Norte,
se levanta el muro impasible
para el topo y la aguja del agua.
No busqueis, negros, su grieta
Poet in New York
131
Blood looking askance, slow,
made of dried esparto, underground nectars.
Blood that oxidizes the careless trade wind in a footprint,
and dissolves butterflies on window-panes.
It’s the blood that comes, that will come
over roofs and terraces, from everywhere,
to burn the chlorophyll of fair-haired women,
to moan at the foot of beds before the insomnia of basins
and smash against a yellow-bile tobacco dawn.
Flee,
you must flee round corners, lock yourself on top floors,
because the pith of the forest will come through cracks
to leave on your flesh the faint trace of an eclipse
and the false sadness of discoloured glove and chemical rose.
*
It’s in this wisest silence
that waiters, cooks, and tongues that clean
the wounds of millionaires
search the streets and saltpetre corners for the king.
A south wind of wood, slanting through black mud,
spits at broken boats, drives nails in its shoulders,
a south wind that carries
alphabets, sunflowers, tusks
and a battery with drowned wasps.
Oblivion was expressed in three drops of ink on the monocle.
Love, in one invisible face on the surface of the stone.
Marrow and corollas on the clouds formed
a desert of stalks without a single rose.
*
To the left, to the right, south and north,
the wall rises impervious
to mole or spike of water.
Don’t search, blacks, for a breach
132
Poeta en Nueva York
para hallar la mascara infinita.
Buscar el gran sol del centra
hechos una pina zumbadora.
El sol que se desliza por los bosques
seguro de no encontrar una ninfa.
El sol que destruye numeros y no ha cruzado nunca un sueno,
el tatuado sol que baja por el rlo
y muge seguido de caimanes.
Negros, Negros, Negros, Negros,
Jamas sierpe ni cebra ni mula
palidecieron al morir.
El lenador no sabe cuando expiran
los clamorosos arboles que corta.
Aguardad bajo la sombra vegetal de vuestro rey
a que cicutas y cardos y ortigas turben postreras azoteas.
Entonces, negros, entonces, entonces,
podreis besar con frenesl las ruedas de las bicicletas,
poner parejas de microscopios en las cuevas de las ardillas
y danzar al fin sin duda, mientras las floras erizadas
asesinan a nuestro Moises casi en los juncos del cielo.
jAy, Harlem disfrazada!
jAy, Harlem, amenazada por un gentio de trajes sin cabeza!
Me llega tu rumor,
me llega tu rumor atravesando troncos y ascensores,
a traves de laminas grises,
donde flotan tus automoviles cubiertos de dientes,
a traves de los caballos muertos y los crimenes diminutos,
a traves de tu gran rey desesperado,
cuyas barbas llegan al mar.
Crucifixion
La luna pudo detenerse al fin por la curva blanquisima de los
caballos
Un rayo de luz violenta que se escapaba de la herida
proyecto en el cielo el instante de la circuncision de un nino muerto.
Poet in New York
133
where you might find the infinite mask.
Turn into a buzzing pineapple,
seek the great central sun.
The sun that glides through the woods
certain it won’t meet a nymph,
the sun that kills numbers, that’s never met a dream,
tattooed sun, moving downriver, bellowing,
with alligators in pursuit.
Blacks, blacks, blacks, blacks.
Never did snake, zebra, mule
grow pale at death.
The woodcutter doesn’t know when
the clamouring trees he cuts expire.
Wait in the leafy shadow of your king
until hemlock and thistle and nettles disturb the furthest terrace roots.
Then blacks, then, then
you can plant frenzied kisses on bicycle wheels,
put pairs of microscopes in squirrels’ nests,
and dance at last with confidence, while bristling flowers
mow down our Moses close to the reeds of heaven.
Ay, Harlem in disguise!
Ay Harlem, threatened by a gang of headless costumes!
Your murmur reaches me
through tree-trunks and lifts,
through sheets of grey metal
where your cars float bristling with teeth,
through dead horses and petty crimes,
through your great despairing king
whose beard reaches the sea.
Crucifixion
In the end the moon could stay on the horses’ blinding white
curve.
A ray of violent light escaping from the wound
shot the instant of a dead boy’s circumcision into the sky.
134
Poeta en Nueva York
La sangre bajaba por el monte y los angeles la buscaban,
pero los calices eran de viento y al fin llenaba los zapatos.
Cojos perros fumaban sus pipas y un olor de cuero caliente
ponia grises los labios redondos de los que vomitaban en las
esquinas.
Y llegaban largos alaridos por el Sur de la noche seca.
Era que la luna quemaba con sus bujias el falo de los caballos.
Un sastre especialista en purpura
habia encerrado a las tres santas mujeres
y les ensenaba una calavera por vidrios de la ventana.
Los ninos en el arrabal rodeaban a un camello bianco
que lloraba asustado porque al alba
tenia que pasar sin remedio por el ojo de una aguja.
jOh cruz! jOh clavos! jOh espina!
jOh espina clavada en el hueso hasta que se oxiden los planetas!
Como nadie volvia la cabeza, el cielo pudo desnudarse.
Entonces se oyo la gran voz y los fariseos dijeron:
«Esa maldita vaca tiene las tetas llenas de leche.»
La muchedumbre cerraba las puertas
y la lluvia bajaba por las calles decidida a mojar el corazon
mientras la tarde se puso turbia de latidos y lenadores
y la oscura ciudad agonizaba bajo el martillo de los carpinteros.
«Esa maldita vaca
tiene las tetas llenas de perdigones»,
dijeron los fariseos.
Pero la sangre mojo sus pies y los espiritus inmundos
estrellaban ampollas de laguna sobre las paredes del templo.
Se supo el momento preciso de la salvacion de nuestra vida.
Porque la luna lavo con agua
las quemaduras de los caballos
y no la primera vida que callaron en la arena.
Entonces salieron los frios cantando sus canciones
y las ranas encendieron sus lumbres en la doble orilla del rio.
«Esa maldita vaca, maldita, maldita, maldita,
no nos dejara dormir», dijeron los fariseos,
y se alejaron a sus casas por el tumulto de la calle
dando empujones a los borrachos y escupiendo la sal de los
sacrificios
mientras la sangre los seguia con un balido de cordero.
Poet in New York
135
Blood flowed down the mountain and the angels searched it out,
but the chalices were wind and eventually filled the shoes.
Lame dogs smoked pipes and the smell of hot leather
turned the fat lips of people vomiting in corners grey.
And long shrieks came from the South of dry night —
the moon’s candles were burning the horses’ phalluses.
A tailor who specialized in purple
had shut three saintly ladies in
and was showing them a skull through his window.
At the edge of the town, kids surrounded a white camel
weeping because at dawn it would have
to pass through the eye of a needle.
O cross! Nails! Thorn!
Thorn driven into bone until planets rust!
As no one was spying the sky could undress.
Then the huge voice was heard and the Pharisees said:
‘This wretched cow’s teats are bursting with milk.’
The crowd closed its doors
and the rain poured down the streets bent on soaking hearts
while evening turned cloudy with beats and woodcutters
and the dark city lay dying under the carpenters’ hammers.
‘The teats of this wretched cow
are stuffed with bird-shot’
said the Pharisees.
But blood soaked their feet and filthy spirits
spangled lake-bubbles over the temple walls.
The precise moment of saving our life became known.
Because the moon washed with water
the horses’ burns,
not the first life they silenced in the sand.
Then cold emerged singing its various songs
and frogs lit their lamps on the river’s double banks.
‘This wretched cow, three times cursed,
won’t let us sleep’, said the Pharisees,
and they left for home through turbulent streets,
jostling drunks and spitting the salt of sacrifice,
while blood followed them bleating like a lamb.
136 Poeta en NuevaYork
Fue entonces
y la tierra desperto arrojando temblorosos rios de polilla.
Grito hacia Roma
(Desde la tone del Chrysler Building)
Manzanas levemente heridas
por finos espadines de plata,
nubes rasgadas por una mano de coral
que lleva en el dorso una almendra de fuego,
peces de arsenico como tiburones,
tiburones como gotas de llanto para cegar una multitud,
rosas que hieren
y agujas instaladas en los canos de la sangre,
mundos enemigos y amores cubiertos de gusanos
caeran sobre ti. Caeran sobre la gran cupula
que unta de aceite las lenguas militares,
donde un hombre se orina en una deslumbrante paloma
y escupe carbon machacado
rodeado de miles de campanillas.
Porque ya no hay quien reparta el pan y el vino,
ni quien cultive hierbas en la boca del muerto,
ni quien abra los linos del reposo,
ni quien llore por las heridas de los elefantes.
No hay mas que un millon de herreros
forjando cadenas para los ninos que han de venir.
No hay mas que un millon de carpinteros
que hacen ataudes sin cruz.
No hay mas que un gentio de lamentos
que se abren las ropas en espera de la bala.
El hombre que desprecia la paloma debia hablar,
debia gritar desnudo entre las columnas
y ponerse una inyeccion para adquirir la lepra
y llorar un llanto tan terrible
que disolviera sus anillos y sus telefonos de diamante.
Pero el hombre vestido de bianco
ignora el misterio de la espiga.
Poet in New York
137
That was then,
and the world awoke launching tremulous rivers of moths.
Cry to Rome
(From the Tower of the Chrysler Building )
Apples with flesh-wounds
made by slender silver swords,
clouds slashed by a coral hand,
a fire-filled almond on its back,
arsenic fish like sharks,
sharks like tear-drops to blind a multitude,
roses that wound
and needles lodged in the blood’s tubes,
enemy worlds and worm-covered loves
will fall on you. On the great dome
that anoints military tongues with olive oil
where a man pisses on a luminous dove
and spits crushed coal
ringed by a thousand little bells.
Because now there’s no one to share the bread and wine,
or grow grass in the dead man’s mouth,
or unfold the linen of repose,
or to grieve over elephant wounds.
Just a million blacksmiths
forging chains for children yet unborn.
Just a million carpenters
making coffins without crosses.
Just a throng of lamentations
opening their clothes, awaiting the bullet.
The man who despises the dove should have spoken,
yelled, naked among columns,
injected himself with leprosy,
and set up a wail so dreadful
it dissolved his rings and diamond telephones.
But the man dressed in white*
knows nothing of the mystery of corn,
Poeta en Nueva York
138
ignora el gemido de la parturienta,
ignora que Cristo puede dar agua todavla,
ignora que la moneda quema el beso de prodigio
y da la sangre del cordero al pico idiota del faisan.
Los maestros ensenan a los nifios
una luz maravillosa que viene del monte;
pero lo que llega es una reunion de cloacas
donde gritan las oscuras ninfas del colera.
Los maestros senalan con devocion las enormes cupulas sahumadas;
pero debajo de las estatuas no hay amor,
no hay amor bajo los ojos de cristal defmitivo.
El amor esta en las carnes desgarradas por la sed,
en la choza diminuta que lucha con la inundacion;
el amor esta en los fosos donde luchan las sierpes del hambre,
en el triste mar que mece los cadaveres de las gaviotas
y en el oscurisimo beso punzante debajo de las almohadas.
Pero el viejo de las manos traslucidas
dira: amor, amor, amor,
aclamado por millones de moribundos;
dira: amor, amor, amor,
entre el tisu estremecido de ternura;
dira: paz, paz, paz,
entre el tirite de cuchillos y melones de dinamita;
dira: amor, amor, amor,
hasta que se le pongan de plata los labios.
Mientras tanto, mientras tanto, jay!, mientras tanto,
los negros que sacan las escupideras,
los muchachos que tiemblan bajo el terror palido de los directores,
las mujeres ahogadas en aceites minerales,
la muchedumbre de martillo, de violin o de nube,
ha de gritar aunque le estrellen los sesos en el muro,
ha de gritar frente a las cupulas,
ha de gritar loca de fuego,
ha de gritar loca de nieve,
ha de gritar con la cabeza llena de excremento,
Poet in New York
139
knows nothing of the cries of a woman in labour,
doesn’t know that Christ can still give water,
doesn’t know that money burns the prodigy’s kiss
and gives lamb’s blood to the pheasant’s idiot beak.
The teachers show the children
a marvellous light coming from the mountain;
but what arrives is a union of sewers
where the dark nymphs of cholera scream.
Devoutly the teachers point out huge fumigated domes;
but beneath the statues there’s no love,
no love beneath the eyes set in crystal.
Love is there, in flesh ripped by thirst,
in the tiny hut struggling against the flood;
love is there, in ditches where snakes of hunger wrestle,
in the sad sea that rocks dead gulls,
and in the darkest stinging kiss under pillows.
But the old man with the luminous hands
will say: love, love, love,
cheered on by millions of the dying;
will say: love, love, love,
in the shimmering tissue of tenderness:
will say: peace, peace, peace,
among shivering knives and melons of dynamite;
will say: love, love, love,
until his lips turn to silver.
Meanwhile and meanwhile and meanwhile,
blacks collecting up the spittoons,
boys trembling beneath directors’ bloodless ferocity,
women drowned in mineral oils,
crowd with hammer, violin or cloud
must yell even if their brains splatter on the wall,
yell before the domes,
yell maddened by fire,
yell maddened by snow,
yell with heads full of excrement,
140
Poeta en Nueva York
ha de gritar como todas las noches juntas,
ha de gritar con voz tan desgarrada
hasta que las ciudades tiemblen como ninas
y rompan las prisiones del aceite y la musica.
Porque queremos el pan nuestro de cada dia,
flor de aliso y perenne ternura desgranada,
porque queremos que se cumpla la voluntad de la Tierra
que da sus frutos para todos.
Son de negros en Cuba
Cuando llegue la luna llena ire a Santiago de Cuba,
ire a Santiago
en un coche de agua negra.
Ire a Santiago.
Cantaran los techos de palmera.
Ire a Santiago.
Cuando la palma quiere ser cigiiena,
ire a Santiago.
Y cuando quiere ser medusa el platano,
ire a Santiago.
Ire a Santiago
con la rubia cabeza de Fonseca.
Ire a Santiago.
Y con el rosa de Romeo y Julieta
ire a Santiago.
Mar de papel y plata de moneda.
Ire a Santiago.
jOh Cuba! jOh ritmo de semillas secas!
Ire a Santiago.
jOh cintura caliente y gota de madera!
Ire a Santiago.
Arpa de troncos vivos. Caiman. Flor de tabaco.
Ire a Santiago.
Siempre he dicho que yo iria a Santiago
en un coche de agua negra.
Ire a Santiago.
Brisa y alcohol en las ruedas,
Poet in New York
141
yell like every night in one,
yell with a voice torn terribly
until cities tremble like girls
and burst the prisons of oil and music,
because we want our daily bread,
alder-flower and everlasting harvest of tenderness,
because we want Earth’s will be done,
the Earth that gives her fruit to all.
Blacks in Cuba, Their Son
As soon as there’s a full moon, I’ll go to Santiago, Cuba,
I’ll go to Santiago
in a coach of black water.
I’ll go to Santiago.
Palm roofs will sing.
I’ll go to Santiago.
When the palm tree wants to be a stork,
I’ll go to Santiago.
And when the banana tree wants to be a jellyfish,
I’ll go to Santiago.
I’ll go to Santiago
with Fonseca’s fair head.
I’ll go to Santiago.
And with Romeo and Juliet’s* rose
I’ll go to Santiago.
Paper sea, silver coins.
I’ll go to Santiago.
0 Cuba, rhythm of dried seeds!
I’ll go to Santiago.
Torrid waist, drop of wood!
I’ll go to Santiago.
Harp of living trunks, alligator, tobacco flower!
I’ll go to Santiago.
1 always said I’d go to Santiago
in a coach of black water.
I’ll go to Santiago.
Breeze and alcohol in the wheels,
I 4 2
Poeta en Nueva York
ire a Santiago.
Mi coral en la tiniebla,
ire a Santiago.
El mar ahogado en la arena,
ire a Santiago.
Calor bianco, fruta muerta,
ire a Santiago.
jOh bovino frescor de Canaveral
jOh Cuba! jOh curva de suspiro y barro!
Ire a Santiago.
Poet in New York
M3
I’ll go to Santiago.
My coral in the darkness,
I’ll go to Santiago.
Sea buried in sand.
I’ll go to Santiago.
White heat, dead fruit,
I’ll go to Santiago.
Bovine freshness of sugar cane!
O Cuba! Curve of sigh and clay!
I’ll go to Santiago.
Poema de Tierra y Luna
Pequeno poema infinito
Para Luis Cardoza y Aragon
Equivocar el camino
es llegar a la nieve
y llegar a la nieve
es pacer durante varios siglos las hierbas de los cementerios.
Equivocar el camino
es llegar a la mujer,
la mujer que no teme la luz,
la mujer que mata dos gallos en un segundo,
la luz que no teme a los gallos
y los gallos que no saben cantar sobre la nieve.
Pero si la nieve se equivoca de corazon
puede llegar el viento Austro,
y como el aire no hace caso de los gemidos,
tendremos que pacer otra vez las hierbas de los cementerios.
Yo vi dos dolorosas espigas de cera
que enterraban un paisaje de volcanes
y vi dos ninos locos
que empujaban llorando las pupilas de un asesino.
Pero el dos no ha sido nunca un numero
porque es una angustia y su sombra,
porque es la demostracion del otro infinito que no es suyo
y es las murallas del muerto
y el castigo de la nueva resurreccion sin finales.
Los muertos odian el numero dos,
pero el numero dos adormece a las mujeres,
y como la mujer teme la luz,
la luz tiembla delante de los gallos
y los gallos solo saben volar sobre la nieve,
tendremos que pacer sin descanso las hierbas de los cementerios.
From Earth and Moon
Little Infinite Poem
For Luis Cardoza y Aragon
To take the wrong road
is to arrive at snow
and arriving at snow
is to graze for centuries on graveyard weeds.
To take the wrong road
is to arrive at woman,
woman fearless of light,
woman who kills two cockerels in a flash,
light which doesn’t fear cockerels
and cockerels that can’t crow on snow.
But if snow gets the wrong heart
the South Wind may come,
and since air pays moans no heed,
we’ll have to graze on graveyard weeds again.
I saw two sorrowing wax spikes of wheat
burying a volcanic landscape,
and two mad weeping children
pushing a murderer’s eyeballs.
But two has never been a number;
it is anguish and its shadow,
the demonstration of another’s infinity,
the dead man’s ramparts
and the punishment of new and endless resurrection.
Dead men hate the number two,
but that number lulls women to sleep,
and as woman fears light,
and light trembles before cockerels,
and cockerels can only fly above the snow,
we’ll have to graze for good on graveyard weeds.
Poemas de Divan del Tamarit
Gacela IX
Del amor maravilloso
Con todo el yeso
de los malos campos,
eras junco de amor, jazmin mojado.
Con sur y llama
de los malos cielos,
eras rumor de nieve por mi pecho.
Cielos y campos
anudaban cadenas en mis manos.
Campos y cielos
azotaban las llagas de mi cuerpo.
Casida V
Del sueno al aire libre
Flor de jazmin y toro degollado.
Pavimento infinito. Mapa. Sala. Arpa. Alba.
La nina suena un toro de jazmines
y el toro es un sangriento crepusculo que brama.
Si el cielo fuera un nino pequenito,
los jazmines tendrian mitad de noche oscura,
y el toro circo azul sin lidiadores,
y un corazon al pie de una columna.
Pero el cielo es un elefante,
el jazmin es un agua sin sangre,
y la nina es un ramo nocturno
por el inmenso pavimento oscuro.
From The T am arit Divan
Ghazal IX
Of Marvellous Love
With all the gypsum
of the badlands,
you were reed of love, moist jasmine.
With south and fire
of the bad skies,
you were murmur of snow in my breast.
Skies and fields
knotted chains in my hands.
Fields and skies
scourged the wounds in my flesh.
Qasida V
Of the Open-Air Dream
Jasmine bloom and butchered bull.
Endless paving. Map. Room. Harp. Dawn.
The girl feigns a jasmine bull
and the bull’s a bleeding sunset, bellowing.
If the sky were a tiny child,
half the jasmines’ night would be darkness,
the bull a blue arena without matadors,
and a heart at the foot of a column.
But the sky’s an elephant,
and jasmine bloodless water.
The girl’s a bough by night
on the huge dark paving.
148
Divan del Tamarit
Entre el jazmin y el toro
o garfios de marfil o gente dormida.
En el jazmm un elefante y nubes
y en el toro el esqueleto de la nina.
Casida YIII
De la muchacha dorada
La muchacha dorada
se banaba en el agua
y el agua se doraba.
Las algas y las ramas
en sombra la asombraban,
y el ruisenor cantaba
por la muchacha blanca.
Vino la noche clara,
turbia de plata mala,
con peladas montanas
bajo la brisa parda.
La muchacha mojada
era blanca en el agua
y el agua, llamarada.
Vino el alba sin mancha,
con cien caras de vaca,
yerta y amortajada
con heladas guirnaldas.
La muchacha de lagrimas
se banaba entre llamas,
y el ruisenor lloraba
con las alas quemadas.
La muchacha dorada
era una blanca garza
y el agua la doraba.
The Tamarit Divan
149
Between the bull and the jasmine
either marble claws or people sleeping.
In the jasmine, an elephant and clouds
and in the bull the girl’s skeleton.
Qasida VIII
Of the Golden Girl
The golden girl
bathed in the water
and the water turned gold.
Algae and branches
darkened her with shadows,
and the nightingale sang
for the white girl.
The clear night came
clouded with bad silver,
bringing bald mountains
under the cloudy breeze.
The drenched girl
was white in the water
and the water a splash.
The spotless dawn arrived,
with its faces of a thousand cows,
rigid and laid out
with frozen garlands.
The girl of tears
bathed among flames
and the nightingale wept,
wings burnt.
The golden girl
was a white heron,
and the water made it gold.
Divan del Tamarit
150
Gacela del mercado matutino
Por el arco de Elvira
quiero verte pasar,
para saber tu nomine
y ponerme a llorar.
(jQue luna gris de las nueve
te desangro la mejilla?
iQuien recoge tu semilla
de llamarada en la nieve?
,;Que alfiler de cactus breve
asesina tu cristal? . . .
Por el arco de Elvira
voy a verte pasar,
para beber tus ojos
y ponerme a llorar.
,;Que voz para mi castigo
levantas por el mercado!
,;Que clavel enajenado
en los montones de trigo!
jQue lejos estoy contigo,
que cerca cuando te vas!
Por el arco de Elvira
voy a verte pasar,
para sentir tus muslos
y ponerme a llorar.
The Tamarit Divan
Ghazal of the Morning Marketplace
Through Elvira s Arch*
I want to see you pass,
find out your name
and start to cry.
What grey nine o’clock moon
drained your cheek of blood?
Who gathers up your seed,
sudden splash on the snow?
What needle of brief cactus
assassinates your crystal? . . .
Through Elvira ’s Arch
I’m going to see you pass,
drink your eyes
and start to cry.
Your voice raised to punish me
in the marketplace!
The carnation exiled
in the wheat-piles!
How distant, you and I together,
how close when you depart!
Through Elvira ’s Arch
I’m going to see you pass,
know your thighs
and start to cry.
Poemas de Seis Poemas Galegos
Romaxe de Nosa Senora da Barca
/Ay ruada, ruada, ruada
da Virxe pequena
e a sua barca!
A Virxe era de pedra
e a sua coroa de prata.
Marelos os catro bois
que no seu carro a levaban.
Pombas de vidro traguian
a choiva pol-a montana.
Mortos e mortas de neboa
pol-os sendeiros chegaban.
jVirxe, deixa a tua carina
nos doces olios das vacas
e leva sobr’o teu manto
as froles da amortallada!
Pol-a testa de Galicia
xa ven salaiando a i-alba.
A Virxe mira pr’o mar
dend’a porta da sua casa.
•/Ay ruada, ruada, ruada
da Virxe pequena
e a sua barca!
Canzon de cuna pra Rosalia Castro, morta
/ Erguete , mina amiga,
que xa cant an os ga/os do dia!
/■Erguete, mina amada,
porque o vento muxe coma unha vaca!
From Six Galician Poems
Romance of Our Lady of the Boat
Pilgrimage, pilgrimage!
Pilgrimage to the little Virgin
and her boat!
The Virgin was stone,
her crown silver.
Four ochre oxen
carrying her in their cart.
Crystal doves brought rain
over the mountain.
Misty dead arrived,
came down the paths.
Virgin, leave your sweet face
in the cows’ soft eyes,
and wear on your robe
the flowers of death’s shroud!
Here’s shivering dawn,
rounding the tip of Galicia.
From her doorway
the Virgin looks to the sea.
Pilgrimage, pilgrimage!
Pilgrimage to the little Virgin
and her boat!
Cradle Song for Rosalia Castro, Dead
Rise, sweet friend,
cockerels sing the dawn!
Rise, sweet love,
the wind lows like a cow!
154 Seis Poemas Galegos
Os arados van e ven
dende Santiago a Belen.
Dende Belen a Santiago
un anxo ven en un barco.
Un barco de prata fina
que trai a door de Galicia.
Galicia deitada e queda,
transida de tristes herbas.
Herbas que cobren teu leito
e a negra fonte dos teus cabelos.
Cabelos que van 6 mar
onde as nubens teflen seu nidio pombal.
jErguete, mina amiga,
que x a cantan os galos do dial
jErguete, mina amada,
porque o vento muxe como unha vaca!
Six Galician Poems
The ploughs go back and forth
from Santiago* to Bethlehem.
From Santiago to Bethlehem
an angel comes in a boat.
A boat of fine silver
bearing Galicia’s grief.
Silent Galicia stretched out,
worn with sad weeds,
weeds that cover your bed,
and the dark fountain of your hair.
Hair that goes to the sea
with its bright dovecote of clouds.
Rise, sweet friend,
cockerels sing the dawn!
Rise, sweet love,
the wind lows like a cow!
Llanto por Ignacio Sanchez Mejias
A mi querida amiga Encarnacidn Lopez Jidvez
i . La cogida y la muerte
A las cinco de la tarde.
Eran las cinco en punto de la tarde.
Un nino trajo la blanca sabana
a las cinco de la tarde.
Una espuerta de cal ya prevenida
a las cinco de la tarde.
Lo demas era muerte y solo muerte
a las cinco de la tarde.
El viento se llevo los algodones
a las cinco de la tarde.
Y el oxido sembro cristal y niquel
a las cinco de la tarde.
Ya luchan la paloma y el leopardo
a las cinco de la tarde.
Y un muslo con un asta desolada
a las cinco de la tarde.
Comenzaron los sones de bordon
a las cinco de la tarde.
Las campanas de arsenico y el humo
a las cinco de la tarde.
En las esquinas grupos de silencio
a las cinco de la tarde.
jY el toro solo corazon arriba!
a las cinco de la tarde.
Cuando el sudor de nieve file llegando
a las cinco de la tarde,
cuando la plaza se cubrio de yodo
a las cinco de la tarde,
la muerte puso huevos en la herida
a las cinco de la tarde.
Lament for Ignacio Sanchez Mejias
To my dear friend Encarnacion Lopez fiilvez
i . Goring and Death
At five in the afternoon.
Five on the dot after noon.
A boy fetched the white sheet
at five in the afternoon.
A basket of lime waiting
at five in the afternoon.
After that death and only death
at five in the afternoon.
The wind blew cotton scraps
at five in the afternoon.
And oxide sowed crystal and nickel
at five in the afternoon.
Dove and leopard battle
at five in the afternoon.
A thigh with a desolate horn
at five in the afternoon.
The bass drone began
at five in the afternoon.
Arsenic bells and smoke
at five in the afternoon.
On corners groups of silence
at five in the afternoon.
And the bull alone elated*
at five in the afternoon.
When sweats of snow began
at five in the afternoon.
And iodine covered the ring
at five in the afternoon.
Death laid its eggs in the wound
at five in the afternoon.
Llanto por Ignacio Sanchez Mejias
A las cinco de la tarde.
A las cinco en punto de la tarde.
Un ataiitl con ruedas es la cama
a las cinco de la tarde.
Huesos y flautas suenan en su oldo
a las cinco de la tarde.
El toro ya mugla por su frente
a las cinco de la tarde.
El cuarto se irisaba de agonla
a las cinco de la tarde.
A lo lejos ya viene la gangrena
a las cinco de la tarde.
Trompa de lirio por las verdes ingles
a las cinco de la tarde.
Las heridas quemaban como soles
a las cinco de la tarde,
y el gentio rompia las ventanas
a las cinco de la tarde.
A las cinco de la tarde.
jAy que terribles cinco de la tarde!
jEran las cinco en todos los relojes!
jEran las cinco en sombra de la tarde!
2. La sangre derramada
jQue no quiero verla!
Dile a la luna que venga,
que no quiero ver la sangre
de Ignacio sobre la arena.
jQue no quiero verla!
La luna de par en par,
caballo de nubes quietas,
y la plaza gris del sueno
con sauces en las barreras.
Lamen t for Ignacio Sanchez Mejias
At five in the afternoon.
At five on the dot after noon.
A coffin on wheels is the bed
at five in the afternoon.
Bones and flutes sound in his ear
at five in the afternoon.
In his face the bull’s bellowing
at five in the afternoon.
The rainbow of death entered the room
at five in the afternoon.
Far off", gangrene on its way
at five in the afternoon.
Lily-trumpet in the green groin
at five in the afternoon.
The wounds burned like suns
at five in the afternoon ,
and the crowd smashed the windows
at five in the afternoon.
At five in the afternoon.
Terrible five after noon!
Every clock pointing to five!
Five after noon in the shade!
2. Spilled Blood
I will not see it!
Tell the moon to come,
I will not see the blood
of Ignacio on the sand.
I will not see it!
The moon wide-open.
A horse of quiet clouds
And dream’s grey bull-ring
edged all round with willows.
Llanto por Ignacio Sanchez Mejias
jQue no quiero verla!
Que mi recuerdo se quema.
jAvisad a los jazmines
con su blancura pequena!
jQue no quiero verla!
La vaca del viejo mundo
pasaba su triste lengua
sobre un hocico de sangres
derramadas en la arena,
y los toros de Guisando,
casi muerte y casi piedra,
mugieron como dos siglos
hartos de pisar la tierra.
No.
jQue no quiero verla!
Por las gradas sube Ignacio
con toda su muerte a cuestas.
Buscaba el amanecer,
y el amanecer no era.
Busca su perfil seguro,
y el sueno lo desorienta.
Buscaba su hermoso cuerpo
y encontro su sangre abierta.
jNo me digais que la vea!
No quiero sentir el chorro
cada vez con menos fuerza;
ese chorro que ilumina
los tendidos y se vuelca
sobre la pana y el cuero
de muchedumbre sedienta.
iQuien me grita que me asome?
jNo me digais que la vea!
No se cerraron sus ojos
cuando vio los cuernos cerca,
pero las madres terribles
Lamen t for Ignacio Sanchez Mejias
I will not see it!
Remembrance burns.
Call the jasmine
with their little whiteness!
I will not see it!
The cow of the ancient world
passed her sad tongue
over a snout of blood
spilled on sand,
and the bulls of Guisando,*
death almost, stone almost,
bellowed like two centuries
tired of treading earth.
No.
I will not see it!
Ignacio climbs the steps,
his whole death on his back.
He looked for dawn
and dawn was finished.
He seeks his firm profile,
sleep sets it adrift.
He sought his beautiful body
and found his opened blood.
Do not say I have to see it!
I do not want to feel the flow
lose strength with every beat.
The flow which lights
the cheapest seats and spills
on the corduroy and leather
of the thirsting crowd.
Who shouts at me and beckons?
Do not say I have to see it!
His eyes did not close
when he saw the horns close in,
but the wild mothers
Llanto por Ignacio Sanchez Mejias
levantaron la cabeza.
Y a traves de las ganaderlas
hubo un aire de voces secretas,
que gritaban a toros celestes
mayorales de palida niebla.
No hubo principe en Sevilla
que compararsele pueda,
ni espada como su espada
ni corazon tan de veras.
Como un rio de leones
su maravillosa fuerza,
y como un torso de marmol
su dibujada prudencia.
Aire de Roma andaluza
le doraba la cabeza
donde su risa era un nardo
de sal y de inteligencia.
jQue gran torero en la plaza!
jQue buen serrano en la sierra!
jQue blando con las espigas!
jQue duro con las espuelas!
jQue tierno con el rocio!
jQue deslumbrante en la feria!
jQue tremendo con las ultimas
banderillas de tiniebla!
Pero ya duerme sin fin.
Ya los musgos y la hierba
abren con dedos seguros
la flor de su calavera.
Y su sangre ya viene cantando:
cantando por marismas y praderas,
resbalando por cuernos ateridos,
vacilando sin alma por la niebla,
tropezando con miles de pezunas,
como una larga, oscura, triste lengua,
para formar un charco de agonia
junto al Guadalquivir de las estrellas.
La men t fo r Ignacio Sa nchez Mejias 163
raised their heads.
And from the ranches
a stir of secret voices rose
calling out to celestial bulls,
masters of pale mist.
No prince in Seville
could compare with him,
no sword was like his sword,
no heart so true.
His strength was a marvel,
like a river of lions,
his measured bearing
like a marble torso.
An air of Rome in Andalusia
hung gold about his head,
his laugh a spikenard
of intelligence and wit.
What a fighter in the ring!
What a mountain man in the hills!
How gentle with the corn!
How harsh with the spur!
How tender with the dew!
How dazzling at the fair!
How tremendous with the final
banderillas of the dark!
But now he sleeps for ever.
Now mosses and grass
open with sure fingers
the flower of his skull.
Now his blood comes singing,
singing through marsh and meadow,
sliding down rigid horns,
faltering soulless through mist,
stamped by a thousand hooves
like a long dark sad tongue
becoming a pool of agony
by the Guadalquivir of stars.
Llanto por Ignacio Sanchez Mejias
jOh bianco muro de Espana!
jOh negro toro de pena!
jOh sangre dura de Ignacio!
jOh ruisenor de sus venas!
No.
jQue no quiero verla!
Que no hay caliz que la contenga,
que no hay golondrinas que se la beban,
no hay escarcha de luz que la enfrie,
no hay canto ni diluvio de azucenas,
no hay cristal que la cubra de plata.
No.
jjYo no quiero verla!!
3. Cuerpo presente
La piedra es una frente donde los sueiios gimen
sin tener agua curva ni cipreses helados.
La piedra es una espalda para llevar al tiempo
con arboles de lagrimas y cintas y planetas.
Yo he visto lluvias grises correr hacia las olas
levantando sus tiernos brazos acribillados,
para no ser cazadas por la piedra tendida
que desata sus miembros sin empapar la sangre.
Porque la piedra coge simientes y nublados,
esqueletos de alondras y lobos de penumbra;
pero no da sonidos, ni cristales, ni fuego,
sino plazas y plazas y otras plazas sin muros.
Ya esta sobre la piedra Ignacio el bien nacido.
Ya se acabo. jQue pasa! jContemplad su figura!
La muerte lo ha cubierto de palidos azufres
y le ha puesto cabeza de oscuro minotauro.
Ya se acabo. La lluvia penetra por su boca.
El aire como loco deja su pecho hundido.
Lament for Ignacio Sanchez Mejias 165
O white wall of Spain!
Black bull of sorrow!
Ignacio’s hardened blood!
0 nightingale of his veins!
No.
1 will not see it!
There’s no chalice can hold it,
no swallow drink it,
no frost of light chill it,
no song nor deluge of lilies,
there’s no glass can silver it.
No.
I will not see it!
3. The Body Laid Out
Stone is a forehead where dreams moan,
devoid of curved water, frozen cypress.
Stone is a shoulder to carry time
with trees of tears and ribbons and planets.
I’ve seen grey rains scud toward the waves
raising tender brittle arms to avoid
the stone laid out in traps,
loosening limbs, refusing blood.
Stone gathers seeds and clouds,
larks’ skeletons and twilight wolves,
but gives out no sound, no crystal, no fire,
only bull-rings, bull-rings, more bull-rings without walls.
Now well-born Ignacio lies on stone.
It is finished. What is happening? Look at him.
Death has covered him with pale sulphur
and given him the head of a dark Minotaur.*
It is finished. Rain rinses his mouth.
Frenzied air abandons his sunken chest,
Llanto por Ignacio Sanchez Mejias
y el Amor, empapado con lagrimas de nieve,
se calienta en la cumbre de las ganaderlas.
,;Que dicen? Un silencio con hedores reposa.
Estamos con un cuerpo presente que se esfuma,
con una forma clara que tuvo ruisenores
y la vemos llenarse de agujeros sin fondo.
iQuien arruga el sudario? jNo es verdad lo que dice!
Aqui no canta nadie, ni llora en el rincon,
ni pica las espuelas, ni espanta la serpiente:
aqui no quiero mas que los ojos redondos
para ver ese cuerpo sin posible descanso.
Yo quiero ver aqui los hombres de voz dura.
Los que doman caballos y dominan los rios:
los hombres que les suena el esqueleto y cantan
con una boca llena de sol y pedernales.
Aqui quiero yo verlos. Delante de la piedra.
Delante de este cuerpo con las riendas quebradas.
Yo quiero que me ensenen donde esta la salida
para este capitan atado por la muerte.
Yo quiero que me ensenen un llanto como un rio
que tenga dulces nieblas y profundas orillas,
para llevar el cuerpo de Ignacio y que se pierda
sin escuchar el doble resuello de los toros.
Que se pierda en la plaza redonda de la luna
que finge cuando nina doliente res inmovil;
que se pierda en la noche sin canto de los peces
y en la maleza blanca del humo congelado.
No quiero que le tapen la cara con panuelos
para que se acostumbre con la muerte que lleva.
Vete, Ignacio: No sientas el caliente bramido.
Duerme, vuela, reposa: jTambien se muere el mar!
Lament for Ignacio Sanchez Mejias
and Love, drenched with tears of snow,
warms itself among the cattle on the heights.
What are they saying? A stinking silence settles.
We are here with a body fading,
a noble form once full of nightingales
we now see filling with bottomless holes.
Who is crumpling the shroud? What he says is not true!
Here no one sings or weeps in corners,
or pricks their spurs, or startles snakes.
Here I want only wide-open eyes
to see this body which can never rest.
I want to see here strong-voiced men,
men who tame horses, subdue rivers,
men whose skeletons sound, who sing
from mouths packed full with sun and flint.
Here is where I want to see them. Before the stone.
Before this broken-reined body.
I want them to show me the way out
for this captain pinioned by death.
I want them to teach me to weep like a river
of soft mists and steep banks to bear away
Ignacio’s body, let him go
without the bulls’ double snorting in his ears.
Let him disappear into the round bull-ring
of the little-girl moon feigning a pained still beast.
Let him go into the fishes’ songless night,
into the white scrub of frozen smoke.
I do not want them to hide his face with handkerchiefs
to get him used to bearing death.
Go now Ignacio. Do not endure the hot bellowing.
Sleep, soar, rest. The sea also dies!
Llanto por Ignacio Sanchez Mejias
4. Alma ausente
No te conoce el toro ni la higuera,
ni caballos ni hormigas de tu casa.
No te conoce el nino ni la tarde
porque te has muerto para siempre.
No te conoce el lomo de la piedra,
ni el raso negro donde te destrozas.
No te conoce tu recuerdo mudo
porque te has muerto para siempre.
El Otono vendra con caracolas,
uva de niebla y montes agrupados,
pero nadie querra mirar tus ojos
porque te has muerto para siempre.
Porque te has muerto para siempre,
como todos los muertos de la Tierra,
como todos los muertos que se olvidan
en un monton de perros apagados.
No te conoce nadie. No. Pero yo te canto.
Yo canto para luego tu perfil y tu gracia.
La madurez insigne de tu conocimiento.
Tu apetencia de muerte y el gusto de su boca.
La tristeza que tuvo tu valiente alegria.
Tardara mucho tiempo en nacer, si es que nace,
un andaluz tan claro, tan rico de aventura.
Yo canto su elegancia con palabras que gimen
y recuerdo una brisa triste por los olivos.
Lamen t for Ignacio Sanchez Mejias
169
4. Absent Soul
The bull does not know you, nor the fig,
nor horses, nor the ants of your house.
The child does not know you, nor the afternoon,
because you have died for ever.
The back of the stone slab does not know you,
nor the black satin where you fragment.
Your silent remembrance does not know you
because you have died for ever.
Autumn will return with conches,
misted grapes and clustering hills,
but no one will want to look in your eyes
because you have died for ever.
Because you have died for ever
like all the dead of the Earth,
like all the dead forgotten
on the heaped-up corpses of dogs.
No one knows you. But I sing you,
sing your profile and grace for later.
Your peerless judgement.
Your embracing of death, the taste of its kiss.
The sadness within your courageous joy.
Not soon, perhaps not ever, will there be
so certain an Andalusian, or so daring.
I sing his elegance in a lament of words
and remember a sad breeze among the olives.
From Sonet os del amor oscaro
El poeta habla por telefono con el amor
Tu voz rego la duna de mi pecho
en la dulce cabina de madera.
Por el sur de mis pies fue primavera
y al norte de mi frente flor de helecho.
Pino de luz por el espacio estrecho
canto sin alborada y sementera
y mi llanto prendio por vez primera
coronas de esperanza por el techo.
Dulce y lejana voz por mi vertida,
dulce y lejana voz por mi gustada,
lejana y dulce voz amortecida,
lejana como oscura corza herida,
dulce como un sollozo en la nevada,
jlejana y dulce, en tuetano metida!
‘jAy voz secreta del amor oscuroP
jAy voz secreta del amor oscuro!
jAy balido sin lanas! jAy herida!
jAy aguja de hiel, camelia hundida!
jAy corriente sin mar, ciudad sin muro!
jAy noche inmensa de perfil seguro,
montana celestial de angustia erguida!
jAy perro en corazon!, voz perseguida,
silencio sin confin, lirio maduro.
Huye de mi, caliente voz de hielo,
no me quieras perder en la maleza
donde sin fruto gimen carne y cielo.
From Sonnets of Dark Love
The Poet Speaks to his Love on the Telephone
In its sweet housing of wood
your voice watered the sand-dune of my heart.
To the south of my feet it was Spring,
north of my brow bracken in flower.
Down tight space a pine tree of light
sang without dawn or seedbed,
and for the first time my lament
strung crowns of hope across the roof.
Sweet distant voice poured for me.
Sweet distant voice savoured by me.
Sweet distant voice, dying away.
Distant as a dark wounded doe.
Sweet as a sob in snow.
Sweet and distant, in the very marrow!
‘Ay, Secret Voice of Dark Love’
Ay, secret voice of dark love,
fleeceless bleating — wound!
Needle of bitterness, fallen camellia,
current without sea, city without walls!
Immense night of firm profile,
celestial mountain tall with anguish!
Dog in the heart, hounded voice,
silence unbounded, full-blown lily!
Leave me, hot voice of ice,
don’t let me lose my way in the scrub,
among the laments of barren flesh and sky.
172
Sonetos del amor oscuro
Deja el duro marfil de mi cabeza,
apiadate de mi, jrompe mi duelo!,
jque soy amor, que soy naturaleza!
El amor duerme en el pecho del poeta
Tu nunca entenderas lo que te quiero,
porque duermes en mi y estas dormido.
Yo te oculto llorando, perseguido
por una voz de penetrante acero.
Norma que agita igual carne y lucero
traspasa ya mi pecho dolorido,
y las turbias palabras han mordido
las alas de tu espiritu severo.
Grupo de gente salta en los jardines
esperando tu cuerpo y mi agonia
en caballos de luz y verdes crines.
Pero sigue durmiendo, vida mia.
jOye mi sangre rota en los violines!
jMira que nos acechan todavia!
Noche del amor insomne
Noche arriba los dos, con luna llena,
yo me puse a llorar y tu reias.
Tu desden era un dios, las quejas mias
momentos y palomas en cadena.
Noche abajo los dos. Cristal de pena
llorabas tu por hondas lejanias.
Mi dolor era un grupo de agonias
sobre tu debil corazon de arena.
Sonnets of Dark Love
Spare my head’s hard ivory,
stop my pain, have mercy!
For I am love, I am nature!
The Lover Asleep on the Poet’s Breast
You’ll never understand how much I love you
because you sleep and are asleep in me.
In tears I conceal you, pursued
by a voice of penetrating steel.
Rule that prods flesh and morning star alike
now pierces my pained breast
and the wings of your stern soul
have been gored by troubled words.
In the gardens waiting people leap
expecting your body and my pain
on horses of light with green manes.
But, my life, sleep on.
Hear my ruined blood in the violins!
They follow us, biding their time!
Night of Sleepless Love
The night above. We two. Full moon.
I started to weep, you laughed.
Your scorn was a god, my laments
moments and doves in a chain.
The night below. We two. Crystal of pain.
You wept over great distances.
My ache was a clutch of agonies
over your sickly heart of sand.
Sonetos del amor oscuro
La aurora nos unio sobre la cama,
las bocas puestas sobre el chorro helado
de una sangre sin fin que se derrama.
Y el sol entro por el balcon cerrado
y el coral de la vida abrio su rama
sobre mi corazon amortajado.
Sonnets of Dark Love
Dawn married us on the bed,
our mouths to the frozen spout
of unstaunched blood.
The sun came through the shuttered balcony
and the coral of life opened its branches
over my shrouded heart.
This page intentionally left blank
EXPLANATORY NOTES
Book of Poems
First published in Madrid in 1921 by Gabriel Garcia Maroto. The printer was
a friend of Lorca’s and the costs of the edition were met by the poet’s father.
According to the dates supplied for each of the poems they were written
between April 1918 and December 1920, although they do not appear in
chronological order in the text.
Autumn Song
5 Babel, according to Genesis, after the Flood, men spoke a single language
and lived on the plain of Senaar in Babylon. Moved by the desire for
power they planned to construct a city with a tower that would reach
Fleaven, but God punished them for such an arrogant enterprise by con-
fusing their language so that they could not understand each other. The
city was never completed and took the name of Babel.
Minor Song
The images of the nightingale and the fountain are common in the turn of
the century brand of poetry cultivated in Spain and Latin America known as
modernismo.
7 Cyrano', a character in a neo-Romantic comedy by Edmond Rostand
(1868—1918), loosely based on the life of the French soldier, poet, and
philosopher Savinien Cyrano de Bergerac (1619-55). He was in love with
his cousin Roxanne but believed himself to be too ugly to court her,
mainly on account of his enormous nose.
Don Quixote : the eponymous hero of a novel by Miguel de Cervantes
(1547-1616) whose reason was overcome as a result of reading novels of
chivalry.
Sad Ballad
This poem is largely constructed from fragments of phrases from children’s
songs and games from all over Spain. The details are exhaustively detailed in
Ian Gibson, ‘Lorca’s Balada triste: Children’s Songs and the Theme of Sexual
Disharmony in Libro de Poemas\ Bulletin of Hispanic Studies , 46 (1969), 21-38.
11 Pegasus: a mythical winged horse, the son of Poseidon and Medusa.
Elegy
13 Dionysian: in ancient Greece, Dionysus was the god of vegetation, fertility,
wine, intoxication, and even frenzy, music, and drama. He was worshipped
by women in rites of an orgiastic nature, which included tearing an animal
to pieces.
178 Notes to Pages 13-38
13 Ceres : ancient Roman goddess of the earth. She protected the fertility of
crops and the dead.
15 Black swan: the swan is another common image in modernist a poetry.
Ines: Christian virgin and martyr whose cult was very popular in Rome.
Commonly represented with a lamb, an allusion to her purity and her
name (agnus = lamb).
Cecilia : one of the most venerated martyrs in the early Roman Church.
She is frequently represented as playing the organ, and is the patron saint
of music.
Clara (1193/4—1253): inspired by the teaching of St Francis of Assisi this
saint gave up all her possessions and founded a religious order known as
the Poor Clares.
Spring Song
In this poem, as in the earlier ‘Minor Song’, the theme of nostalgia for a lost
childhood is implicit in the way in which the poet ruefully notes his distance
from the children mentioned in the poems.
Ballad of the Little Square
The idea of the separation of the poet from the experience of childhood, pres-
ent in ‘Spring Song’ and ‘Minor Song’, is given a more dramatic rendering in
this poem on account of its dialogue form.
The Billy Goat
35 Don Juan: a legendary profligate who has been interpreted down the
centuries as the epitome of the seducer. One of the earliest literary mani-
festations of this figure was Don Juan Tenorio in E! burlador de Sevilla
( The Trickster of Seville ) by the seventeenth-century Spanish playwright
Tirso de Molina ( 1584? — 1 648).
Mephistophelean: Mephistopheles was a familiar spirit of the devil in later
settings of the legend of Faust.
Pan: in Greek mythology, a fertility deity more or less bestial in form.
Pan was generally regarded as vigorous and lustful, having the horns,
legs, and ears of a goat.
37 Philommedes: mentioned in Hesiod’s Theogany, Philommedes is an
alternative name for Aphrodite, and connotes ‘lover of genitals’. She is
supposed to have been born from Uranus’ genitals, which had been
hacked off and thrown into the sea.
Anacreon: Greek poet of the sixth century bc. Famous for his epigrams
and erotic poetry, he was renowned as a pleasure-seeker.
Suites
Lorca conceived the idea of writing groups of poems as suites towards the end
of 1920 when he was composing the final poems of Libro de poemas. He worked
i 7 9
Notes to Pages 39-71
assiduously on his Suites until 1923, frequently mentioning their forthcoming
publication in letters. The intention was to publish them as part of a threefold
project that was also to include Poema del cante jondo and Canciones. Yet only a
handful of the suites appeared in Lorca’s lifetime; it was in 1983 that a version
reconstructed by Andre Belamich was published (Madrid: Ariel).
Sesame
41 Narcissus : in Greek mythology, a handsome youth who was so obsessed
with his own beauty that he was oblivious of the love of the nymph Echo.
He became enamoured with his own image reflected in the waters of a
well, and died of anguish because he could not reach it. He was trans-
formed into a flower of the same name.
In the Garden of Lunar Grapefruit
47 Don Carlos the Pretender. Carlos Luis de Borbon (1818 — 61) was given the
mantle of Carlist pretender by his father, Don Carlos, Conde de Molina,
in 1845. He made two unsuccessful attempts to seize the Spanish throne.
Poem of the Cante Jondo
Conceived in the summer of 1921, the bulk of the poems that make up this col-
lection were written in November of the same year, coinciding with Lorca’s
interest in flamenco and his involvement in the preparations for the cante jondo
festival in Granada in the following summer. It was not until May 1931 that
the book was finally published (Madrid: Ulises), with the addition of some new
material.
Dancing the Siguiriya
A phonetic deformation of seguidilla, siguiriya is one of the basic forms of cante
jondo.
The Solea
Soled', a contraction of soledad (solitude). Together with the siguiriya it com-
prises the most profound of the cante jondo forms, and is characterized by
passionate lament.
Bowmen
67 Guadalquivir, the name given by the Arabs to the river known to the
Romans as Betis. One of the largest rivers in Spain, it flows into the
Atlantic Ocean beyond Seville.
Procession
71 Merlins'. Merlin was a legendary magician and wise man, attached to the
court of King Arthur.
Ecce Homo', literally ‘Behold the man’ — an exhortation to contemplate
Christ on the Cross.
180 Notes to Pages 71-87
71 Durandarte: a character in Spanish versions of French Carolingian
romances. It was originally the name that Roland gave to his sword. There
is an allusion to Durandarte in the episode of Montesinos’s cave in Don
Quixote.
73 Orlando furioso: the eponymous hero of an epic poem by Ariosto, who was
driven mad by amatory jealousy. He is also mentioned in Don Quixote.
Saeta
See Introduction, p. xv.
73 See where he comes!: a phrase found in many traditional saetas, alluding to
the appearance of Christ bearing the Cross.
Songs
It is probable that Lorca did not contemplate writing a book to be entitled
Canciones until 1926, though the bulk of the ninety poems that comprise this
collection had been written by that date. Indeed, in one of his letters Lorca
suggests that seventy of these poems were written between 1921 and 1923, but
even if that were to be strictly true, the poems were subjected to careful revi-
sion in the following years, while the tasks of organization and ordering were
only undertaken shortly before the eventual publication date of May 1927
(Malaga: Litoral).
Nocturnes at the Window
The structure of the opening section of this poem with its binary formulations
is typical of many poems in Songs. See D. Gareth Walters, Canciones and the
Early Poetry of Lorca : A Study in Critical Methodology and Poetic Maturity
(Cardiff: University of Wales Press, 2002), 25-30.
Verlaine
The subject of this poem is the French poet Verlaine (1844-96) whose liaison
with the poet Arthur Rimbaud was a source of scandal.
Bacchus
The subject of this poem is the Latin god Bacchus (another name for
Dionysus; see note to ‘Elegy’ above).
Juan Ramon Jimenez
The subject of this poem is the Spanish poet Jimenez (1881-1956) whose
work is informed by the aesthetic ideal.
Venus
The subject of this poem is Venus, the Roman goddess of love, originally a
goddess of the Spring who protected vines and gardens, and later identified
with the Greek goddess Aphrodite.
Notes to Pages 87-125
181
Debussy
The subject of this poem is the French composer Debussy (1862—1918) whose
work is regarded as the musical equivalent of Impressionism. Several com-
positions of his were inspired by the movement of water.
Narcissus
The subject of this poem is Narcissus, the youth discussed in the note to
‘Sesame’ above.
The Moon Appears
The moon is perhaps Lorca’s commonest image and symbol, variously suggest-
ive of mystery, fate, and death.
Light Madrigal
The diminutive form of ‘madrigal’ in the Spanish text (‘Madrigalillo’) suggests
an element of mockery or even parody.
Gypsy Ballads
As with Canciones the poems that appear in Romacero gitano cover several
years. The earliest was written at the end of 1921 but the majority of the eight-
een poems that make up the collection were written much later: ten ballads
were published individually between 1926 and 1928 prior to the publication of
the first edition in July 1928 (Madrid: Revista de Occidente).
Ballad of the Moon , the Moon
107 forge . . . anvil : gypsies were commonly associated with the trade in
horses, hence the allusions to the forge and anvil.
barn-owl', a portent of death in Andalusia as elsewhere.
Dreamwalker Ballad
1 13 Civil Guards', a rural paramilitary police force founded in 1842, and the
traditional enemy of the Gypsies. They were accustomed to patrolling in
pairs.
The Gypsy Nun
1 1 5 five wounds of Christ', the making of crystallized fruit was a common occu-
pation of nuns in Andalusia and many of these sweets bore such religious
names.
Dead from Love
123 St George : the patron saint of soldiers. Here the allusion is to the fury he
displayed in his legendary slaying of the dragon.
125 azure telegrams', telegrams were printed on blue paper in Spain.
1 82 Notes to Pages i2y~igi
Poet in New York
Written during the period Lorca spent in New York in 1929—30, the poems
were published posthumously, appearing in two differing editions in succes-
sive months in 1940 (New York: Norton; Mexico City: Seneca). These edi-
tions vary in their canon, text, and order, and there is no consensus as to which
better represents the poet’s final intentions. In 1932 Lorca prepared a lecture-
recital of poems from the collection, but continued to change his mind about
the organization of the collection.
Cry to Rome
137 the man dressed in white', an allusion to Pope Pius XI. See Introduction,
p. xxi.
Blacks in Cuba , Their Son
The Son is a Cuban song of African origin.
141 Fonseca . . . Romeo and Juliet', references to the names and illustrations on
the covers of cigar boxes.
Earth and Moon
In mid-1933 Lorca was working towards a collection entitled Tierra y Luna ,
including poems written as much as four years earlier and coinciding
with his period in New York. Little Infinite Poem bears the date of 10 January
1930.
The Tamarit Divan
Lorca started work on this collection in the summer of 1931 but most of the
poems were written in the spring and summer of 1934. The book was initially
destined for publication by the University of Granada, Lorca’s home univer-
sity, but for reasons that are unknown the edition never appeared. With the
outbreak of the Spanish Civil War in 1936 the project was abandoned, and the
work eventually appeared in a special issue of Revista Hispdnica Moderna (New
York, 1940). The term ‘Divan’ comes from the Persian ditvan , meaning ‘col-
lection’ or ‘anthology’. Lorca is less precise, however, about the use of the two
terms employed as titles for the poems in this collection, and evidently uses the
words in a purely evocative fashion The qasida refers to a fairly long poem
with a single rhyme, while the ghazal is a short poem of between four and
fifteen lines, normally of an erotic nature.
Ghazal of the Morning Marketplace
151 Elvira’s Arch', the gate that leads into the Gypsy, formerly the Moorish,
quarter of the Albaicin in Granada.
Notes to Pages 153—175 183
Six Galician Poems
The poems that make up this tiny collection were written between 1932 and
1934, Lorca having visited Galicia three times in the earlier of these years. It
was published in Santiago de Compostela at the end of 1935 (Editorial Nos).
Cradle Song for Rosalia de Castro , Dead
155 Santiago : Santiago de Compostela, the capital of Galicia, and renowned
as a place of pilgrimage because the bones of the Apostle James were
supposedly found there.
Lament for Ignacio Sanchez Mejias
Lorca’s poetic response to the death of Mejias (see Introduction, p. xxii) was
immediate. The poem was completed within three months of the bullfighter’s
death in August 1934, and published in Madrid (Cruz y Raya: Ediciones del
Arbol) in the March or April of the following year.
157 the bull alone elated', a phrase that uncannily anticipates a dominant detail
of Picasso’s Guernica , painted in response to the bombing of the Basque
town of that name during the Spanish Civil War.
161 the bulls of Guisando: an allusion to Iberian sculptures near Avila of four
animals presumed to be bulls, and possibly associated with an ancient cult
of the animal.
165 Minotaur, in Greek mythology a creature, half-bull, half-man, that guarded
the labyrinth at Minos.
Sonnets of Dark Love
These poems were written mainly in the autumn of 1935. The surviving texts
are first drafts; it seems likely that later versions have been lost. Many of the
eleven poems that make up the cycle remained unpublished until December
1983 when they were printed, probably in Madrid, by the bibliophile Victor
Infantes in an anonymous limited edition unauthorized by the poet’s family.
This page intentionally left blank
INDEX OF TITLES
After Passing By 53
Aire de nocturno 16
A1 oido de una muchacha 88
Alba 64
amor duerme en el pecho del poeta, El 172
And After 55
Another Song 31
Another Way 103
Arqueros 66
Autumn Song 3
jAy! 58
Ay! 59
Bacchus 85
Baco 84
Balada de la placeta 22
balada del agua del mar, La 26
Balada triste 8
Balcon 72
Balcony 73
Ballad of the Little Square 23
Ballad of the Moon, the Moon 107
Betrothal 97
Billy Goat, The 33
Blacks in Cuba, their Son 141
Bowmen 67
Cancion bajo lagrimas 40
Cancion con reflejo 38
Cancion de jinete 80
Cancion de noviembre y abril 102
Cancion del naranjo seco 104
Cancion menor 6
Cancion otonal 2
Cancion primaveral 18
Cancion tonta 80
Canzon de cuna pra Rosalia Castro, morta 152
Capture of Antonito el Camborio on the Seville Road 117
Casida V Del sueno al aire libre 146
Casida VIII De la muchacha dorada 148
Cave 63
Cradle Song for Rosalia Castro, Dead 153
Crossroads 59
Crucifixion 133
1 86
Index of Titles
Crucifixion 132
Cry to Rome 137
Cueva 62
Dagger 57
Dancing the Siguiriya 53
Dawn (‘But like love’s/ arrows . . .’) 73
Dawn (‘Cordoba bells/at daybreak . . .’) 65
De otro modo 102
Dead from Love 123
Death of Antonito el Camborio 119
Debussy 86, 87
Delirio 44
Delirium 45
Despedida 98
Desposorio 96
Despues de pasar 52
Dream (‘I rode astride . . .’) 29
Dream (‘My heart rests beside . . .’) 21
Dream walker Ballad 109
Elegia 12
Elegy 13
En el instituto y en la universidad 98
En el jardin de las toronjas de luna 44
Encrucijada 58
Encuentro 64
jEs verdad! 82
First Anniversary 93
Fishermen 43
Float, Holy Week 71
Foolish Song 81
Gacela del Mercado matutino 150
Gacela IX Del amor maravilloso 146
Ghazal IX Of Marvellous Love 147
Ghazal of the Morning Marketplace 1 5 1
Grito hacia Roma 136
grito, El 50
Guitar, The 49
guitarra, La 48
Gypsy Nun, The 1 13
He Died at Dawn 91
Horizon 43
Horizonte 42
Horseman’s Song 81
In a Girl’s Ear 89
In the Garden of Lunar Grapefruit 45
In the Institute and in the University 99
It’s true! 83
Juan Ramon Jimenez 84, 85
Index of Titles
King of Harlem, The 127
Lament for Ignacio Sanchez Mejias 1 57
Landscape 49
Landscape without Song 43
Light Madrigal 101
Little Infinite Poem 145
Llanto por Ignacio Sanchez Mejias 156
Lover Asleep on the Poet’s Breast, The 173
Lucia Martinez 94, 95
luna asoma, La 90
macho cabrio, El 32
Madrigalillo 100
Madrugada 72
Malaise and Night 95
Malestar y noche 94
Meeting 65
Minor Song 7
monja gitana, La 112
Moon Appears, The 91
Muerte de Antonito el Camborio 1 1 8
Muerto de amor 122
Murio al amanecer 90
Narciso 88
Narcissus 89
Night 67
Night of Sleepless Love 173
Noche 66
Noche del amor insomne 172
Nocturnal Air 17
Nocturnes at the Window 77
Nocturnos de la ventana 76
Otra cancion 30
Paisa je 48
Paisaje sin cancion 42
Parched Land 55
Parting 99
Paso 70
paso de la Siguiriya, El 52
Pequeno poema infinito 144
Pescadores 42
Poet Speaks to his Love on the Telephone, The 17 1
poeta habla por telefono con el amor, El 170
Prelude 101
Preludio 100
Prendimiento de Antonito el Camborio en el camino de Sevilla 1 1 6
Primer aniversario 92
Procesion 70
Procession 7 1
Index of Titles
Pueblo
56
Punal
56
Qasida V Of the Open-Air Dream
147
Qasida VIII Of the Golden Girl
149
rey de Harlem, El
126
Romance de la luna, luna
106
Romance of Our Lady of the Boat
153
Romance sonambulo
108
Romaxe de Nosa Senora da Barca
! 5 2
Sad Ballad
9
Saeta
70
Saeta
7 1
Seawater Ballad
2 7
Second Anniversary
93
Segundo aniversario
9 2
Sesame
4i
Sesamo
40
Sevilla
68
Seville
69
Shout, The
5i
Silence, The
S3
silencio, El
5 2
Solea, La
60
Soled , The
61
soltera en misa, La
94
Son de negros en Cuba
140
Song beneath Tears
4 1
Song of November and April
103
Song of the Dry Orange Tree
i°5
Song with Reflection
39
Sorpresa
60
Spinster at Mass, The
95
Spring Song
19
Sueno (‘Iba yo montado sobre . . .’)
28
Sueno (‘Mi corazon reposa junto . . .’)
20
Surprise
61
Tierra seca
54
Town
57
Venus
86, 87
Verlaine
82, 83
Y despues
54
INDEX OF FIRST LINES
A Calvary 57
A las cinco de la tarde 156
A sun without rays 43
Abejaruco 94
Alta va la luna 76
Among black butterflies 53
Antonio Torres Heredia 116,117
Apples with flesh-wounds 137
As soon as there’s a full moon, I’ll go to Santiago, Cuba 14 1
Asi te vi 86
At five in the afternoon 157
jAy que trabajo me cuesta 82
l Ay ruada, ruada, ruada 152
jAy voz secreta del amor oscuro! 170
Ay, secret voice of dark love 1 7 1
Bajo el moises del incienso 94
Bee-eater 95
Beneath the cradle of incense 95
Blue sky 43
But like love’s 73
Campanas de Cordoba 64
Cantan los ninos 22
Child! 89
Cielo azul 42
Cirio, candil 66
Como un incensario lleno de deseos 12
Con todo el yeso 146
Con una cuchara 126
Cordoba 80, 81
Cordoba bells 65
Cristo Moreno 70
Cuando llegue la luna llena ire a Santiago de Cuba 140
Cuando sale la luna 90
Cuatro granados 100
Dark Christ 71
De la cueva salen 62
Dewdrops 7
Disuelta la tarde 44
Down alleyways 71
Dressed in black cloaks 61
East wind 59
El arbol gigantesco 42
El campo 48
190 Index of First Lines
El cielo nublado 102
El grito deja en el viento 58
El mar 26
El punal 56
El rebano de cabras ha pasado 32
El reflejo 40
jEl sueno se deshizo para siempre! 30
Empieza el llanto 48
En aquel sitio 40
En el bianco infinito 84
En la pradera bailaba 38
Entre mariposas negras 52
Equivocar el camino 144
jErguete , mina amiga 152
Flor de jazmin y toro degollado 146
Four pomegranate trees 10 1
Fragmented evening 45
From the cave 63
Green how I want you green 109
Green murmur, intact 85
Happy children emerge 19
He lay in the street, dead 61
Hoy siento en el corazon 2
I didn’t want to 89
I rode astride 29
I saw you thus 87
I’m petrified 17
I’ve said goodbye to the friends ... 45
Iba yo montado sobre 28
If I die 99
In its sweet housing of wood 171
In that place 41
In the end the moon could stay on the horses’
blinding white curve 133
In the infinite white 85
In the meadow 39
In the still night 23
Jasmine bloom and butchered bull 147
La cancion 82
La elipse de un grito 50
La hoguera pone al campo de la tarde 102
La Lola 72
La luna clava en el mar 92
La luna pudo detenerse al fin por la curva blanquisima
de los caballos 132
La luna vino a la fragua 106
La muchacha dorada 148
La nina va por mi frente 92
Index of First Lines
La primera vez
98
Lamp, candle
67
Las alamedas se van
100
Lenador
104
Like a censer filled with desires
13
Lola
73
Los arqueros oscuros
66
Los laberintos
54
Los ninos miran
5 2
Lucia Martinez
94' 95
Mama
80
Mama
81
Manazanas levemente heridas
136
Me he despedido de los amigos . . .
44
jMi corazon es una mariposa
8
Mi corazon reposa junto a la fuente fria
20
Mi sombra va silenciosa
86
Muerto se quedo en la calle
60
My child, hear the silence
53
My heart rests beside the cool fountain
21
My heart’s a butterfly
9
My shadow moves silently
87
Ni tu ni yo estamos
64
Night of four moons
9i
Nino
88
No quise
88
Noche arriba los dos, con luna llena
172
Noche de cuatro lunas
90
On the evening land the bonfire lays
i°3
Oye, hijo mio, el silencio
5 2
Parched land
55
Pero como el amor
7 2
Pilgrimage, pilgrimage!
153
Por el arco de Elvira
150
Por la calleja vienen
70
— <;Que es aquello que reluce
122
Rise, sweet friend
153
Salen los ninos alegres
18
Sevilla es una torre
68
Seville is a tower
69
Si muero
98
Silence of myrtle and lime
1 13
Silencio de cal y mirto
112
Sobre el monte pelado
56
Sobre la verde bruma
4 2
Tengo mucho miedo
16
The avenues of poplar go
IOI
The children watch
53
192
Index of First Lines
The cloudy sky
103
The dagger
57
The dark bowmen
67
The dream came apart for good!
31
The field
49
The first time
99
The giant tree’s lianas
43
The girl passes across my brow
93
The golden girl
149
The guitar begins
49
The herd of goats passed where
33
The labyrinths
55
The moon came to the forge
107
The moon nails to the sea
93
The moon rides high
77
The night above. We two. Full moon
173
The reflection is
41
The sea
2 7
The shout
Si
The shout leaves a cypress shadow
59
The song
83
Through Elvira ’s Arch
iSi
Throw this ring
97
Tienen gotas de rocio
6
Tierra seca
54
Tirad ese anillo
96
To take the wrong road
H 5
Today in my heart
3
Tu nunca entenderas lo que te quiero
172
Tu voz rego la duna de mi pecho
170
Verde que te quiero verde
108
Verde rumor intacto
84
Vestida con mantos negros
60
Viento del Este
58
Virgen con mirinaque
70
Virgin with crinoline
71
Voces de muerte sonaron
118
Voices of death sounded
119
‘What is that gleaming
123
What it costs me
83
When the moon rises
91
With a spoon
127
With all the gypsum
147
Woodsman
105
You and 1
65
You’ll never understand how much I love you
i 73
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11